Is That Black Enough for You?!?

Time Subtitle Translation
21s [Elvis Mitchell] For me, the most exciting period in the history of film ‎对我来说 ‎电影史上最让人兴奋的时期
25s is when movies with the word "black" in the title went from this ‎就是许多电影的片名里 ‎都有“黑”这个字的时期 从这个…
30s to this. ‎…到这个
43s My excitement was not just because there was finally truth in advertising ‎我的兴奋不仅仅是因为 ‎广告中终于有了真实
48s but because I got to see a first in the movies, ‎还因为我在电影里第一次看到
51s a procession of assured Black talent. ‎一批有才华的黑人
55s Pam Grier aglow in Friday Foster, ‎帕姆·格里尔在早期漫画改编的
57s an early comics adaptation. ‎《星期五福斯特》中大放光彩
1:00 Max Julien's contemporary take on film noir in The Mack. ‎马克斯·朱利安出演 ‎当代黑色电影《麦克》
1:04 Charlie Russell's 1969 play Five on the Black Hand Side ‎查理·罗素1969年的戏剧 ‎《黑手边的五个人》
1:08 would hit the big screen four years later. ‎在四年后被搬上了大银幕
1:11 I ain't givin' up nothin' but bubble gum and hard times! ‎我什么也不会放弃 ‎除了泡泡糖和艰难时光!
1:16 And I'm fresh outta bubble gum. ‎我刚吃完了泡泡糖
1:21 [Mitchell] And I wasn't alone in responding this way. ‎我并不是唯一一个这样回应的人
1:26 -[announcer] Hell Up in Harlem. -[announcer 2] The Black Godfather. ‎《哈莱姆地狱》 ‎《黑教父》
1:30 [Mitchell] So, if this burst of freedom and fulfillment was so well-received ‎那么如果这种自由和满足的爆发 ‎如此受欢迎
1:35 and the thirst never really went away, ‎渴望从未真正消失
1:38 why did these Black films stop getting made? ‎为什么这些黑人电影停止制作了?
1:55 [Mitchell] My grandmother told me that movies changed the way she dreamed. ‎我祖母告诉我 ‎电影改变了她梦想的方式
2:00 She hailed from Mississippi. ‎她来自密西西比州
2:02 She said that movies turned her dreams into something resembling stories ‎她说电影把她的梦想 ‎变成了类似故事的东西
2:07 and that first film she saw that embedded in her subconscious ‎她看到的第一部嵌入她潜意识的电影
2:11 was Dracula. ‎是《德古拉》
2:13 And its gothic chills and mezzo-operatic tone ‎电影中哥特式的寒意 ‎和中音歌剧般的音调
2:16 made her afraid to sleep for a week. ‎让她一个星期都不敢睡觉
2:19 I am Dracula. ‎我是德古拉
2:22 Evil spirits?! Good gracious me! Well, there is evil spirits around here? ‎恶灵?我的天啊!这附近有恶灵吗?
2:25 Why sure, the place is crawling with 'em. And that ain't all. ‎当然 这地方到处都是 ‎这还不是全部
2:29 What? There's more? ‎什么?还有别的?
2:30 [Mitchell] But movies that showed African Americans facing fear ‎但那些展示非裔美国人 ‎面对恐惧的电影
2:33 brought that to the screen in a way that was dehumanizing and surreal. ‎却以一种非人性和超现实的方式 ‎将这种恐惧搬上了银幕
2:38 Who is they?! Who is they?! ‎他们是谁?
2:41 -Zombies. -[exclaims in fear] ‎僵尸
2:44 [Mitchell] This also demonstrates that, way more often than should happen, ‎这也表明被视为经典的电影
2:48 films regarded as classics had a way of letting Black people down. ‎往往会让黑人失望 ‎而这种情况本不应该发生得这么频繁
2:53 At some point, ‎在某一时刻
2:54 you're likely to be assaulted by a cringe-worthy moment ‎你很可能会被某个大师的经典作品中
2:57 in something from the canon by one of the masters. ‎一个令人畏缩的时刻侮辱
3:00 Tossed-off stereotypes from the Master of Suspense, ‎摆脱了《悬疑大师》里的刻板印象
3:04 and one of film's most highly regarded dramatists, ‎电影界最受尊敬的剧作家之一
3:06 and the premier actor-director of musicals ‎作为音乐剧的首演演员兼导演
3:09 continue to leave a mark. ‎他继续留下了自己的印记
3:12 Orson Welles and Laurence Olivier, giants in theater and the movies, ‎奥逊·威尔斯和劳伦斯·奥利弗 ‎这两位戏剧和电影巨匠
3:16 slathered on blackface and benign superiority ‎大量使用涂黑的脸与和善的优越感
3:20 to take on Othello. ‎来出演《奥赛罗》
3:22 A closet lock and key of villainous secrets. ‎藏着邪恶秘密的壁橱锁和钥匙
3:27 [Mitchell] I have never been able to see Mickey Mouse in those gloves ‎因此当我看到米奇戴着那副手套
3:30 or Bugs Bunny, for that matter, and not think of minstrel shows. ‎或兔八哥时 ‎我就会想到吟游诗人的表演
3:35 What else were we to assume? They were dressing for the Harvard Club? ‎我们还能假设什么呢? ‎他们穿着哈佛俱乐部的服装?
3:38 -Did you ever see an elephant fly? -[chuckles] Well, I seen a horsefly. ‎你见过大象飞吗? ‎好吧 我看到一只马蝇
3:42 [exclaims] I seen a dragonfly. ‎我看见一只蜻蜓
3:45 -I seen a housefly. -[audience laughs] ‎我看见一只家蝇
3:48 [crow] See, I seen all that ‎瞧 我都看到了…
3:49 [Mitchell] These were probably some of the scenes ‎这可能是一些
3:51 that made their way into my grandmother's subconscious, ‎进入我祖母潜意识的场景
3:54 fragments that she had to fight from overtaking her image of herself, ‎这些片段是她必须努力克服的 ‎以免这些占据她对自己形象的认知
3:57 along with the way she was treated as a young woman of color in Mississippi. ‎以及她作为一个年轻的有色人种女性 ‎在密西西比被对待的方式
4:01 Her awareness of images was such that, when we visited her in Hattiesburg, ‎当我们去哈蒂斯堡拜访她时 ‎她对图像的认知如此敏锐
4:05 she wouldn't let us watch reruns of The Andy Griffith Show. ‎她不让我们看 ‎《安迪·格里菲斯秀》的重播
4:09 She would say, ‎她会说
4:10 "There's no Black people in that Southern town." ‎“那个南方小镇没有黑人”
4:12 "What do you think happened to them?" ‎“你认为他们发生了什么事?”
4:15 All this can sure make it hard for me to love the movies. ‎所有这些 ‎肯定会让我很难爱上那部电影
4:19 For me, it's been a lifetime of watching, and thinking, and writing about movies. ‎对我来说 这辈子都是在 ‎看电影、思考电影、写电影的影评
4:25 I keep coming back, ‎我不断地回看
4:26 despite the waves of disregard they keep hitting me with. ‎尽管这些电影 ‎一波又一波地无视我们种族
4:30 The diminution can feel like a mountain. ‎这种不受尊重的感觉就像一座山
4:34 Maybe the simplest way to explain representation is this. ‎也许解释媒体中社会群体 ‎最简单的方法是这样的
4:38 If you were a white actor, ‎如果你是一个白人演员
4:40 formal wear implied preparing for a night on the town ‎正装意味着准备在城里度过一个夜晚
4:43 and all the pleasures life had to offer. ‎享受生活中所有的乐趣
4:46 If you were a Black actor, a black bow tie wasn't putting on the ritz. ‎如果你是一名黑人演员 ‎黑色领结并不能让你显得豪华
4:49 It meant you were going to work. It was your uniform. ‎这意味着你要去工作了 ‎那是你的制服
4:53 Now, I like a well-assembled ensemble as much as the next person, ‎现在 我和其他人一样 ‎喜欢精心搭配的服装
4:57 probably more so, ‎可能更喜欢
4:58 but I've never really been a fan of tuxedos. ‎但我从来都不太喜欢燕尾服
5:02 Maybe that's why. ‎也许这就是原因
5:06 Ol' man river ‎(《演艺船》1929年 ‎导演:哈利·波拉德)
5:09 That ol' man river He must know somethin' ‎(《演艺船》1936年 ‎导演:詹姆斯·惠尔)
5:15 But don't say nothin' ‎(《演艺船》1951年 ‎导演:乔治·西德尼)
5:19 [Mitchell] Rather than seek out and develop new roles for Black actors, ‎《演艺船》这种老套的比喻 ‎并没有为黑人演员
5:22 the tired tropes of Show Boat functioned as a way ‎寻找和发展新的角色
5:25 to showcase Black talent through recycling. ‎而是通过循环利用来展示黑人的才艺
5:28 The on-screen crushing of Black hope was institutional, ‎银幕上对黑人希望的碾压是制度性的
5:31 from saying there were barely any roles for Black men ‎从说黑人男性 ‎几乎没有任何可以出演的角色
5:34 to an unreal standard of beauty ‎到不真实的美貌标准
5:37 that guaranteed decades of self-hatred for Black women. ‎保证了数十年来 ‎黑人女性的自我仇恨
5:40 Here she comes. ‎她来了
5:42 This is the part I really like. This is when she does that shit with her hair. ‎这是我最喜欢的部分 ‎她把头发弄成那样
5:45 [Mitchell] This role wasn't written for a Black actor ‎这个角色不是为黑人演员写的
5:48 but oddly made an inadvertent comment ‎但却无意中奇怪地对最理想的发型
5:50 about the most desirable kind of hair ‎但却无意中奇怪地对最理想的发型 ‎发表了评论
5:54 a lesson Black women are still dealing with. ‎这是一个黑人女性仍在面对的问题
5:59 [Martin Luther King Jr] Well, in my, uh, days in Atlanta as a child, ‎我小时候在亚特兰大的时候
6:02 there was a pretty strict system of segregation. ‎当时有非常严格的种族隔离制度
6:06 I could not attend any of the theaters. ‎我不能去任何一家剧院
6:08 Only, uh There were one or two Negro theaters. ‎只有… 有一、两个黑人剧院
6:13 Uh, they were very small, but, uh, they did not get the main pictures. ‎它们很小 但都没有主流的影片
6:18 If they got them, they were two years later, three years late. ‎如果拿到了 ‎它们也会是晚两、三年的时间
6:22 So that, uh, by and large, there was a very strict system of segregation. ‎所以总的来说 ‎当时有非常严格的种族隔离制度
6:31 My Saturdays was basically spent in the movies. ‎我的周六基本上都在看电影
6:33 -[pleasant music playing] -We would watch serialized Westerns, ‎我们会看连载的西部片
6:37 like, you know, Lash LaRue, Gene Autry, Roy Rogers, ‎就像拉什·拉鲁、吉恩·奥特里 ‎罗伊·罗杰斯
6:41 stuff like that, or Buck Rogers, you know, some outer space stuff. ‎诸如此类的 或是《巴克·罗杰斯》 ‎你知道的 一些外太空的东西
6:45 [Suzanne De Passe] I was very interested in Westerns. ‎我对西部片很感兴趣
6:49 For some reason, I loved Westerns. ‎出于某种原因 我喜欢西部片
6:51 Gene Autry and Johnny Mack Brown and Roy Rogers ‎吉恩·奥特里、约翰尼·麦克·布朗 ‎罗伊·罗杰斯
6:54 [chuckling] and all these cowboy shows. ‎还有各种牛仔节目
6:57 So I'd go to the Los Angeles Theatre. It was this big palace like the old days, ‎所以我会去洛杉矶剧院 ‎那里就像以前的大宫殿一样
7:02 and it was still kept in great shape. ‎而且现在仍然保存得很好
7:04 And so I'd just kick back, sometimes be the only one there, ‎所以我只是去放松一下 ‎有时候只有我一个人在那里
7:07 and I had this big old theater all to myself. ‎整个偌大的剧院只有我一个人
7:09 All that stuff by John Ford, Monument Valley, all that kind of stuff. ‎所有约翰·福特的作品 ‎纪念碑谷之类的
7:12 I think those things sort of sort of grew on me. ‎我觉得那些东西越来越吸引我了
7:15 I'd seen really good good stories. ‎我看到了非常好的故事
7:18 I am going to the movies with my father, ‎我以前和爸爸去看电影
7:22 and he is taking me to see the movies that he likes. ‎他会带我去看他喜欢的电影
7:26 Movies that have people like John Wayne in them and Steve McQueen. ‎有约翰·韦恩和史蒂夫·麦奎因 ‎这样的人出演的电影
7:33 I remember Band of Angels ‎我记得《天使乐队》
7:35 [laughs] you know, 'cause I remember when Sidney Poitier slapped her. ‎因为我记得 ‎西德尼·波蒂埃扇她耳光的时候
7:40 The film cut out, and you came back. She was standing there holding her face. ‎电影一停 你回过神来 ‎她站在那里捂着脸
7:44 We were like, "What just happened?" My mom said, "He slapped her." ‎我们说:“刚刚发什么了什么?” ‎我妈妈说:“他扇了她”
7:47 "What?! For real?" ‎“什么?真的吗?”
7:49 "They can't show that, but he slapped her." ‎“他们展示不了那个画面 ‎但他扇她了”
7:52 If you're a movie lover, you go to the movies you're interested in seeing. ‎如果你是个电影迷 ‎你去看你感兴趣的电影
7:56 And it's not until after you get into the middle of the movie do you realize, ‎直到看了一半你才意识到
8:00 "Oh, there's no Black people in this movie." [laughs] ‎“这部电影里没有黑人”
8:03 You're just munching the popcorn, and it's like, ‎你一边嚼着爆米花 一边想
8:06 "Did you-- Have-- Is it me, or is there no Black people in this movie?" ‎“你… 有… 是我的问题 ‎还是这部电影里没有黑人?”
8:10 "There's no Black people in the movie." "Oh, okay." ‎“是电影里没有黑人” “好吧”
8:13 [Mitchell] We wanna see ourselves ‎我们想看到自己…
8:16 some kinda way, you know. ‎…以某种方式出演 你知道
8:18 Uh, yeah, 'cause, like I said, when when I was a "kid" kid, ‎对 因为就像我说的 ‎当我还是个小孩时
8:22 the Black people in the movies We had Stepin Fetchit ‎电影里的黑人 ‎我们知道斯泰平·费奇特…
8:25 What are you looking for? ‎你在找什么?
8:28 Where'd you learn to be a barber? ‎你在哪里学的理发?
8:30 [Jackson] Willie Best, ‎…威利·百斯特
8:33 Alfalfa, Buckwheat, Stymie ‎埃奥法尔法、巴克威特、史戴米…
8:39 but I still wanted to be them! ‎但我还是想成为他们!
8:41 Hiya, Buckwheat. ‎你好 巴克威特
8:42 [Jackson] I didn't know any Black kid that played with white kids, ‎我不知道有哪个黑人小孩 ‎会和白人小孩一起玩
8:45 let alone hung out with 'em, you know, and, you know, went to their houses, ‎更不用说和他们待在一起 ‎还能去他们家
8:49 or they came to their houses and did stuff, so ‎或者他们去他们家做些什么
8:51 Our Gang was like totally like, "Wow! Where the Where the hell do they live?" ‎《我们这一帮》完全就像是 ‎“哇!他们到底住在哪儿?”
8:56 I mean, I grew up in segregation, ‎我是说 我在种族隔离中长大
8:58 so from the time I could talk, walk, see, make sense of things, ‎所以从我能说话、能走路、能看 ‎能理解事物的那一刻起
9:04 the world was separate. ‎这世界就是隔离的
9:07 But when I went to the movies The movies is the stuff of fantasies. You know? ‎但当我去看电影的时候… ‎电影是幻想的东西
9:11 When I went to the movies, I came home, and I wanted to be that pirate that I saw. ‎当我去看电影的时候 我回到家 ‎我想成为我看到的那个海盗
9:17 But ‎但是…
9:19 I needed a Black cowboy. ‎我需要一个黑人牛仔
9:23 [Zendaya] We have so many stories to tell. ‎我们有很多故事要讲
9:25 We just wanna see more of us existing in all different forms, ‎我们只是想看到 ‎更多的我们以不同的形式存在
9:29 and I think that is a common frustration, I think, amongst my peers. ‎我认为这是我的同龄人中常见的失望
9:33 We just wanna see us just being kids or, like, in sci-fi, whatever. ‎我们只是想看我们小时候的样子 ‎或者像科幻小说里那样
9:38 [Fishburne] I think, like most people, ‎我认为像大多数人一样
9:39 I engage with the movies in the way that you engage with your dreams. ‎我对这些电影的迷恋 就像对梦一样
9:42 While enjoying those pictures that I was seeing, ‎当我欣赏这些画面的时候
9:45 I was also projecting ‎我也在勾勒
9:48 and trying to visualize myself on the screen, maybe. ‎并试着在屏幕上想象我自己
9:53 [Margaret Avery] As a little girl, all I saw in the movies were people that didn't look like me. ‎当我还是个小姑娘时 我在电影里 ‎看到的都是和我不一样的人
9:59 So I didn't really believe that I could ever become an actress. ‎所以我真的没太相信 ‎我能成为一名演员
10:03 Until I saw Harry Belafonte and Dorothy Dandridge in Carmen Jones. ‎直到我在《卡门·琼斯》里看到 ‎哈利·贝拉方特和多萝西·丹德里奇
10:09 And when I saw them, I said, "Oh wow!" ‎当我看到他们的时候 ‎我说:“哦 哇!”
10:14 "Maybe I could become an actress." ‎“也许我可以成为一名演员”
10:18 [Mitchell] Dorothy Dandridge was paired three times ‎多萝西·丹德里奇曾三次
10:20 with a figure who became a star in every arena ‎与一个人物搭档 ‎这个人在所有领域都成为了明星
10:23 except for the one that he was most qualified, ‎除了他最胜任的一个领域
10:26 movies. ‎电影领域
10:26 That was Harry Belafonte. ‎那就是哈利·贝拉方特
10:29 Dandridge matched Belafonte in talent and temperament. ‎丹德里奇在天赋和气质上 ‎与贝拉方特不相上下
10:32 Only the towering presence of racism could blind anyone ‎只有种族主义的强烈存在 ‎才会让人看不到
10:36 to their adaptable charisma. ‎他们适应性强、具有超凡魅力
10:38 That kept them from more on-screen pairings. ‎这让他们没有更多的银幕配对
10:47 [Mitchell] Belafonte's success as a singer sprang from his training as an actor. ‎贝拉方特作为歌手的成功 ‎源于他作为演员的训练
10:52 He brought the deportment of a storyteller to music. ‎他把讲故事之人的风度融入了音乐
10:55 His extraordinary presence, he had the physical arrogance of an athlete, ‎他超凡的风度 ‎运动员身体的那种傲慢
10:59 and an emotional immersion in character, ‎以及对角色的情感投入
11:02 signaled his on-screen gifts immediately. ‎立刻显示出他在银幕上的天赋
11:05 But he bristled against a system that not only had no idea how to use him ‎但他对一个不仅不知道如何使用他 ‎而且非常害怕他的系统
11:10 but was so afraid of him ‎感到愤怒
11:11 that his singing voice wasn't used in Carmen Jones. ‎他的歌声 ‎没有在《卡门·琼斯》中使用
11:16 I saw it fade and lose its bloom ‎(《卡门·琼斯》1954年 ‎导演:奥托·普雷明格)
11:21 [Mitchell] So in 1959, ‎所以在1959年
11:23 he responded by producing a project that brought in director Robert Wise, ‎作为回应 他制作了一个项目 ‎请来了导演罗伯特·怀斯
11:27 actor Ed Begley, who both won Oscars a few years later, ‎演员埃德·贝格利 ‎这两位都在几年后获得了奥斯卡奖
11:31 blacklisted screenwriter Abe Polonsky, ‎列入黑名单的编剧亚伯·波隆斯基
11:33 and the Modern Jazz Quartet. ‎和现代爵士四重奏乐队
11:38 Odds Against Tomorrow was just a remarkable thing for its day, ‎《末日将至》在当时来说 ‎是个了不起的电影
11:44 and, uh, the fact that I was given the opportunity ‎事实上 能有机会
11:47 to make that kind of film ‎拍那样的电影
11:50 really meant a lot to me. ‎对我来说意义重大
11:51 What's the matter, pretty baby? Tell me, what's your daddy done? ‎(《末日将至》1959年 ‎导演:罗伯特·怀斯)
12:12 Hi, baby. What's shaking? ‎嗨 宝贝 你好吗?
12:15 Bacco wants to buy you a drink. ‎巴科想请你喝一杯
12:18 And I wanna buy you a shiny new car. ‎我还想给你买辆崭新的车
12:20 [Mitchell] Odds Against Tomorrow was an unforgettable film. ‎《末日将至》是一部令人难忘的电影
12:23 The last film noir of its era ‎这是那个时代的最后一部黑色电影
12:25 that was also ahead of its time with an honest look at race, ‎它也因为以诚实的视角看种族 ‎超前了那个时代
12:29 which means, of course, it was ignored. ‎当然这也意味着 它被忽视了
12:31 Opportunities came Belafonte's way, ‎贝拉方特遇到了机会
12:34 but the projects he was offered didn't remotely interest him. ‎但他对找来的项目 ‎一点也不感兴趣
12:37 [Belafonte] Sidney Poitier, up until then, ‎西德尼·波蒂埃 在那之前
12:40 had been the most popular Black figure in the universe, ‎曾一直是宇宙中最受欢迎的黑人形象
12:44 but he was Sidney Poitier. ‎但他是西德尼·波蒂埃
12:47 He was not Sidney Poitier in a Black environment, ‎他不是黑人环境下 黑人情境下的
12:50 in a Black circumstance. ‎西德尼·波蒂埃
12:52 He was Sidney Poitier playing a Black person in an all-white movie. ‎他是在一部全是白人的电影中 ‎扮演黑人的西德尼·波蒂埃
12:58 First thing I ask myself is, "What is a Black man, ‎我问自己的第一件事是:“一个黑人
13:02 came from nothing, going nowhere, ‎出身平凡 不知前路
13:04 all of a sudden in the middle of seven Nazi nuns?" ‎突然和七个纳粹修女混在一起 ‎这算什么?”
13:09 I I turned it down. ‎我拒绝了
13:12 And they offered it to Sidney, and Sidney took it. ‎他们把角色给了西德尼 他接受了
13:16 -The winner is Sidney Poitier -[applause] ‎获胜者是西德尼·波蒂埃
13:23 [Mitchell] Rather than submit himself to material ‎他没有屈从于那些
13:25 that didn't depict the Black community in a meaningful way, ‎以一种没有什么意义的方式 ‎描绘黑人社区的素材
13:28 or at all, for that matter, ‎或者根本没意义 就这点来说
13:30 Harry Belafonte chose not to appear in movies from 1959 until 1970. ‎哈利·贝拉方特选择不出现在 ‎从1959年到1970年的电影中
13:35 To my mind, that made him the Muhammad Ali of the film world, ‎在我看来 这让他成为了 ‎电影界的穆罕默德·阿里
13:39 forced in his prime away from the arena in which he belonged. ‎在他的全盛时期 ‎被迫离开了属于他的舞台
13:43 [Belafonte] Not one picture I turned down did I regret not doing. ‎我拒绝的电影 ‎没有一部是我后悔没有拍的
13:47 Mm-mm. Wasn't in my wasn't in my turf. ‎不是我想要的
13:50 I didn't resent any of them. ‎我不怨恨他们中的任何一个
13:52 I'm glad others got an opportunity and went off and did it, but my initial ‎我很高兴别人得到了这样的机会 ‎接受就去演了 但我最初的…
13:57 First and foremost, I'm an artist. ‎首先最重要的是 我是个艺术家
14:00 I'm an actor. ‎我是个演员
14:01 And I came out of a school with Marlon Brando, Walter Matthau, ‎我和马龙·白兰度、沃尔特·马索 ‎罗德·斯泰格
14:05 Rod Steiger, Tony Curtis, ‎托尼·柯蒂斯同属一个流派
14:08 with a director that gave us no quarter. ‎还有一个对我们毫不留情的导演
14:12 I'm not gonna do anything other than what I think is worthy of being done. ‎我不会做任何我认为不值得做的事
14:17 And fortunately for me, I was a runaway success ‎对我来说幸运的是 我在这个世界上
14:21 in the world at large ‎取得了巨大的成功
14:22 because I had a globe so passionately approving ‎因为全世界都对我
14:27 of my presence in their midst ‎在他们中间的存在热情地赞同
14:29 that nobody could dismiss the fact ‎没有人会否认一个事实
14:31 that that thing on the horizon called Belafonte ‎那就是地平线上那个叫贝拉方特的人
14:34 could really not be fucked with. ‎真的不能被轻易对待
14:37 Because anytime anybody came up and gave me an ultimatum, ‎因为只要有人来给我下最后通牒
14:40 I said, "Fuck you. I'm going to Paris." ‎我会说:“去你的 我要去巴黎了”
14:42 "I'll probably live there if I like, but I I have a destination ‎“如果我喜欢 我可能会在那里生活 ‎但我有一个目的地
14:46 that answers your your denial of what I could be." ‎来给你回答 ‎你想让我演的角色 我拒绝”
14:51 Just me. ‎只有我
14:55 I'm here. ‎(《世界、肉体与魔鬼》1959年 ‎导演:拉纳尔德·麦克杜格尔) ‎我来了
14:56 [Mitchell] Belafonte's resolve literally took him out of the picture. ‎贝拉方特的决心让他彻底出局了
15:00 But as frustration mounted ‎但当要求纠正和民权的
15:01 for people of color demanding redress and civil rights, ‎有色人种沮丧情绪与日俱增时
15:05 movies lagged behind. ‎电影落在了后面
15:07 To use a Langston Hughes quote that inspired a play and a movie, ‎引用兰斯顿·休斯的一句话 ‎这句话启发了一部戏剧和一部电影
15:11 "What happens to a dream deferred?" ‎“推迟的梦会怎么样?”
15:13 "Does it dry up [chuckles] like a raisin in the sun?" ‎“它会像太阳下的葡萄干一样 ‎晒干吗?”
15:16 "Maybe it just sags like a heavy load." ‎“也许它只是 ‎像一个沉重的负担一样下垂”
15:20 "Or does it explode?" ‎“还是会爆炸?”
15:27 [man] We've been beaten and getting beat and getting beat, ‎我们被痛打 一遍一遍不断被痛打
15:30 and we've just decided to do something about it now! ‎我们决定现在就做点什么!
15:34 [Mitchell] Decades of punishing mistreatment of people of color ‎数十年对有色人种的惩罚虐待
15:37 made the 20th century an epoch of revolt. ‎让20世纪成为反抗的时代
15:40 The 1960s body politic suffered through civil eruptions almost every year. ‎20世纪60年代的政治团体 ‎几乎每年都要经历内战的爆发
15:46 1965 saw one sweep through Los Angeles. ‎1965年 飓风横扫洛杉矶
15:50 [Burnett] The thing about the Watts Riot is that you could have anticipated it. ‎瓦茨暴动的问题是你本可以预料到的
15:53 It was clear that was gonna happen. There was gonna be an explosion. ‎很明显这是迟早的事 会有一场爆炸
15:57 Police were killing people. ‎警察在杀人
15:58 They've always been killing people, been terrorizing the community. ‎他们一直在杀人、恐吓这个社区
16:03 If I went to a show at night, ‎如果我晚上去看演出
16:04 I knew I was gonna get stopped at one point by the police. ‎我知道自己会被警察拦下
16:08 It's just a thing where our lives ‎在这种情况下就能看到 我们的生命
16:12 didn't matter, it seemed, you know. ‎似乎并不重要 你知道的
16:15 [Mitchell] By 1968, America was in free fall. ‎到1968年 美国的情况急转直降
16:19 There had been over 20 riots, with over half happening in 1967, ‎总共发生了20多起骚乱 ‎其中一半以上发生于1967年
16:24 including my hometown. ‎我的家乡也不例外
16:26 Law and order have broken down in Detroit, Michigan. ‎密歇根州 ‎底特律市的法律和秩序已经崩溃
16:31 [reporter] This is a shot along Linwood. ‎这是沿着林伍德社区拍摄的
16:33 The flames and the feelings were running hotter ‎火势和情绪愈演愈烈
16:35 than either the mayor or the governor anticipated. ‎远远超出市长和州长的预期
16:39 [Mitchell] Revolt broke out in movies too, ‎电影中也爆发了反抗
16:41 in the independent film world. ‎在独立电影界
16:43 There, Black life didn't exist ‎在那里 黑人的生活
16:45 only in the periphery of the white man's gaze, ‎并不仅仅存在于白人主导世界的边缘
16:48 and there was often room for more than one Black person on-screen. ‎屏幕上通常有不止一个黑人的空间
16:52 And two of those Black talents on-screen ‎其中两名黑人天才同时在银幕上
16:54 simultaneously gave movie-star performances ‎给电影明星的表演
16:58 that did not lead to movie stardom. ‎但并没有让他们成为电影明星
17:01 Well, what you doin' with a cat like me in a joint like this? ‎你怎么会和我这样的男人 ‎在这样的地方?
17:06 You don't think much of yourself, do you? ‎别太自视甚高 好吧?
17:08 [Mitchell] In a more just world, ‎在一个更加公平的世界里
17:10 the heat and tension sparked by Ivan Dixon and Abbey Lincoln ‎伊万·迪克森和艾比·林肯 ‎在《无为之人》中
17:13 in Nothing But a Man ‎所引发的热度和紧张
17:15 would have been a catalyst for larger careers and recognition. ‎本可以成为更大的事业 ‎和认可的催化剂
17:24 [Mitchell] Davis, with his abundant talents as singer, actor, and showman, ‎戴维斯作为歌手、演员和表演家 ‎有着多样的才华
17:28 was certainly capable of it. ‎绝对有能力胜任
17:30 He showed a velvet control as a mercurial, pleasure-seeking ego trip ‎在1966年《一个叫亚当的人》中 ‎他以一种天鹅绒般丝滑的控制
17:34 in 1966's A Man Called Adam. ‎表现了一场反复无常 ‎追求享乐的自我之旅
17:37 He acted along with Cicely Tyson, Ja'Net DuBois, ‎他与西塞莉·泰森 ‎贾内特·杜波依斯合作
17:40 and in a silent tiny role, Morgan Freeman, ‎出演一个沉默的小角色 ‎摩根·弗里曼
17:44 who'd have to wait nearly 20 years to get a role to show power ‎摩根等了将近20年 ‎才得到一个角色
17:48 and the ability to speak. ‎展示权力和说话的能力
17:49 Davis holds the movie in his clenched fist until the last act ‎直到最后一幕 戴维斯一直 ‎在电影中紧握着拳头不屈服
17:53 in which he basically apologizes for all the damage his character wreaked. ‎最后一幕可以总结为 ‎他为自己的性格造成的所有伤害道歉
17:59 All right, I was wrong, okay? ‎好吧 是我错了 好吗?
18:01 I shoulda waited to find out what it was all about, ‎我应该等着看到底是怎么回事
18:05 maybe let her break your head with a bottle. ‎也许应该让她用瓶子砸你的头
18:07 Honey, all I saw ‎亲爱的 我只看到了
18:09 was that old chick's hands on that toodle doddle-- ‎那个老女人的手 ‎在摸那个嘟嘟的…
18:13 Adam. ‎亚当
18:17 [Mitchell] Van Peebles insertion of Black life without self-pity ‎范·皮布尔斯将黑人生活毫不自怜地
18:21 into the art-house world was a fresh, new breeze. ‎插入到艺术电影世界中 ‎是一种新鲜的、全新的风向
18:31 Studio movies were trapped in their old-fashioned patriarchal need ‎电影公司的电影 ‎被困在老式的父权制需求中
18:35 to shape the culture ‎它们需要塑造文化
18:36 rather than respond to it. ‎而不是回应文化
18:38 The corpses of misguided musicals for all ages, ‎给所有年龄段观看的 ‎被误导的音乐剧演员发笑忘词
18:41 such as this, um [questioningly] awesome Best Picture nominee. ‎比如这个… ‎很棒的最佳影片提名
18:46 But the best news of '68 was Sidney Poitier's graduation ‎但1968年最好的消息是 ‎西德尼·波蒂埃
18:50 from self-sacrifice for miscast white movie stars ‎不再给白人电影明星 ‎做不恰当配角的自我牺牲
18:54 to world domination. ‎变成了世界主宰
18:55 Both Guess Who's Coming to Dinner and In the Heat of the Night ‎《猜猜谁来吃晚餐》 ‎和《炎热的夜晚》两部电影
18:59 went wide release in 1968, the year of their Best Picture nominations, ‎都是在1968年上映的 ‎那一年它们获得了最佳影片的提名
19:04 where his white costars gazed at his magnificent intensity. ‎与他合作的白人主演们 ‎都注视着他的辉煌
19:08 Don't misunderstand me. ‎别误会
19:11 I love your daughter. There is nothing I wouldn't do ‎我爱你们的女儿 为了让她
19:14 to try to keep her as happy as she was the day I met her. ‎像我见到她时那样开心 ‎我愿意做任何事
19:16 But it seems to me, without your approval, we will make no sense at all. ‎但在我看来 没有你们的同意 ‎我们将毫无意义
19:22 [Mitchell] As Mark Harris wrote in his book, Pictures at a Revolution, ‎马克·哈里斯在他的书 ‎《革命中的照片》中写道
19:26 "Poitier is the top box office star in America." ‎“波蒂埃是美国票房最高的明星”
19:34 Unfortunately, he's also an example of the entertainment industry's reaction ‎不幸的是 ‎他也是娱乐圈对有色人种成功的反应
19:39 to success by people of color. ‎其中一个例子
19:41 No one seems to think that if Sidney Poitier can draw audiences, ‎似乎没有人认为 ‎西德尼·波蒂埃能吸引观众
19:45 then surely one other Black man or woman might possibly be able to do so. ‎那么其他黑人男性或女性 ‎肯定也可以做到这一点
19:51 This is a time when a Black person talking to a white person on-screen ‎这是一个黑人和白人在屏幕上交谈
19:55 was considered adult entertainment. ‎被认为是成人娱乐的时代
20:04 Black success in media ‎黑人在媒体上的成功
20:06 is often treated as the equivalent of finding a $100 bill on the subway, ‎通常被视为等同于 ‎在地铁上捡到一张100美元的钞票
20:10 a non-repeatable phenomenon. ‎是一种不可重复的现象
20:13 When movies were first being built around, God help us, Elvis Presley ‎当电影最初围绕猫王 ‎或甲壳虫乐队展开
20:17 or The Beatles, ‎虽然拍得并不好
20:19 whose first releases in the US were on a Black-owned record label, ‎他们在美国的第一张专辑 ‎是基于黑人老板的唱片公司发行的
20:23 why wasn't anyone seeking out these women rock pioneers ‎为什么没有人 ‎去寻找这些女性摇滚先驱
20:26 for careers in the movies? ‎在电影中拍摄职业生涯呢?
20:40 [Mitchell] It wouldn't be long for a new day, or night, to drop ‎用不了多久 ‎就会有新的一天或夜晚降临
20:44 for where Black talent was most likely to be recognized, ‎黑人人才在这里最有可能得到认可
20:47 the independent film world. ‎独立电影界
20:49 Writer-director George Romero created a new kind of action hero ‎作家兼导演乔治·罗梅罗 ‎创造了一种新的动作英雄
20:53 by putting a movie and a gun in the hand of Duane Jones, a Black actor, ‎他把电影和一把枪 ‎放在黑人演员杜安·琼斯的手中
20:58 in one of the most influential films of all time. ‎那是有史以来最具影响力的电影之一
21:01 -I think you should just calm down. -[woman groans] ‎我觉得你应该冷静下来
21:04 Oh! I screamed, "Johnny! Johnny, help me!" ‎我尖叫:“强尼!强尼 救我!”
21:09 [Mitchell] Romero also breaks with tradition by never having the hero's race mentioned ‎罗梅罗也打破了传统 ‎没有提到英雄的种族
21:13 because the role wasn't written for a Black actor. ‎因为这个角色不是为黑人演员写的
21:17 I'll be back to reinforce the windows and doors later. ‎我一会儿回来加固门窗
21:21 But you'll be all right for now, okay? ‎但你现在会没事的 好吗?
21:25 Okay? ‎好吗?
21:27 You want the Black guy with you. ‎你想让黑人和你在一起
21:29 [chuckles] You want the Black guy with you. ‎你想让黑人和你在一起
21:32 'Cause he's gonna help you get out. ‎因为他会帮你出去
21:34 See, if you kill him off, you're dead. ‎听着 如果你杀了他 你就死定了
21:36 See, we know how to get out. ‎听着 我们知道怎么出去
21:39 We know how to get away from the zombies. ‎我们知道怎么摆脱僵尸
21:43 We know how to get away from the, you know, killing plants, ‎我们知道如何摆脱那些致命的植物
21:46 anything that's coming to get you, 'cause we're used to ‎任何来抓你的东西 我们都知道 ‎如何摆脱 因为我们习惯了…
21:50 We know how to get outta the way. ‎我们知道怎么躲开
21:53 We know how to get outta the way and let let other stuff happen. ‎我们知道如何避开 让其他事发生
21:59 [Mitchell] The depiction of the undead stalking potential victims ‎对僵尸跟踪潜在受害者的描述
22:02 and windows boarded up to keep them away ‎以及用木板封住窗户 ‎不让他们靠近的画面
22:05 reminded me of TV riot footage. ‎让我想起了电视上的暴乱镜头
22:07 Never has a film been as loaded with allegory and metaphor, ‎从来没有一部电影 ‎像《活死人之夜》那样
22:11 intentional and inadvertent, as Night of the Living Dead. ‎有意无意地充满了寓言和隐喻
22:24 All right, hit him in the head, right between the eyes. ‎好了 打他的头 正中眉心
22:28 [Mitchell] Because Jones dies, picked off after fighting to save whites, ‎因为琼斯死于为拯救白人而战
22:31 Night of the Living Dead was embraced by militant African Americans. ‎《活死人之夜》 ‎受到了激进的非裔美国人欢迎
22:35 They felt it was a metaphor for not staying with your race. ‎他们觉得这是在暗示 ‎不跟自己的种族在一起会发生什么
22:38 This was a sentiment I heard voiced by the boyfriends of my older sisters. ‎这是我从我姐姐们的男朋友那里 ‎听到的情绪声音
22:42 Good shot! Okay, he's dead. ‎好枪法! ‎好 现在他死了 我们去抓住他吧 ‎再扔到火里一个
22:44 Let's go get him. That's another one for the fire. ‎好 现在他死了 我们去抓住他吧 ‎再扔到火里一个
22:48 [Mitchell] And in an end as chilling as the movie itself, ‎在电影的结尾 他被杀 ‎并被扔在一堆尸体上
22:52 he's killed and tossed onto a pile of corpses. ‎这和电影本身一样令人毛骨悚然
23:00 [Robert F. Kennedy] I have some very sad news for all of you, ‎我有一些非常悲伤的消息要告诉你们
23:03 and that is that Martin Luther King was shot and was killed tonight ‎那就是马丁·路德·金 ‎今晚在田纳西州的孟菲斯
23:08 -in Memphis, Tennessee. -[crowd screaming] ‎被枪杀了
23:10 [Mitchell] Coming in the year of Dr. Martin Luther King's assassination ‎在马丁·路德·金遇刺的那一年
23:14 and only a few years after the murders of Medgar Evers and Malcolm X, ‎就在梅加·埃弗斯和 ‎马尔科姆·艾克斯被谋杀的几年后
23:18 this movie death had larger implications ‎这部电影中的死亡事件所产生的影响
23:20 than this writer and director ever imagined. ‎超出了这位编剧和导演的想象
23:25 Living Dead's success should have been confirmation ‎《活死人》的成功应该证实了
23:27 of mainstream interest in Black actors. ‎主流社会对黑人演员的兴趣
23:30 In the year that includes Peter Sellers playing a character of Indian descent ‎1968年 彼得·塞勒斯 ‎在讽刺电影《党派》中
23:34 in the movie biz satire The Party, ‎饰演印第安后裔角色
23:37 1968 was also a year with Yul Brynner as Pancho Villa, ‎同年 尤尔·布伦纳饰演潘乔·维拉
23:41 and unfortunately, Woody Strode as an Apache. ‎还有不幸的 ‎伍迪·斯特罗德饰演阿帕奇
23:47 [TV host] American feature films have always been directed by white men, ‎(西德尼·波蒂埃《谁来爱你》)
23:50 even when the films dealt with Black life and used Black actors. ‎甚至涉及黑人生活 ‎用黑人演员的电影也是如此
23:54 Black directors are excluded, ‎黑人导演被排除在外
23:55 although Blacks now make up 30% of the total moviegoing audience. ‎尽管黑人现在占了总观影人数的30%
23:59 And my associate, William Greaves, has just finished producing and directing ‎而我的同事威廉·格里夫斯 ‎刚刚完成了他的第一部故事片
24:02 his first feature film, Take One and Take Two. ‎《一拍二拍》的制作和导演工作
24:05 It's in the final stages of editing. ‎现在是最后的编辑阶段
24:09 Hello, just to set the record straight, ‎你好 为了澄清事实
24:11 there've been a number of films of Black by Black feature-film directors ‎40年代有很多电影使用黑人导演
24:15 in the '40s, like Powell Lindsay, Oscar Micheaux, and Bill Alexander. ‎比如鲍威尔·林赛 ‎奥斯卡·米绍和比尔·亚历山大
24:19 These directors were denied access to Hollywood, ‎这些导演被拒绝进入好莱坞
24:22 and their films were seen only ‎他们的电影只能
24:23 in the Black communities across the country. ‎在全国的黑人社区看到
24:26 [Mitchell] One of the myths that did constantly resurface ‎在1968年到1978年间
24:29 during 1968 through '78, ‎其中一个不断浮出水面的神话是
24:31 when a handful of Black directors finally got to step behind the camera, ‎当少数黑人导演 ‎终于有机会走到镜头后面
24:35 was that this was the first time Black directors got such chances. ‎那是黑人导演 ‎第一次有这样的机会
24:40 In fact, because they had to, ‎事实上 因为他们必须这样做
24:42 African Americans often wrote and directed ‎非裔美国人经常编剧并导演
24:45 back when one person writing and directing was rare ‎那时一个人编剧与导演是很罕见的
24:48 and discouraged by the studios. ‎不被电影公司鼓励的
24:50 But the Black press supported these theaters and movies, ‎但黑人媒体支持这些影院和电影
24:53 even as they were ignored by the mainstream. ‎即使它们被主流忽略了
24:57 And, getting his start in the silent era, ‎在默片时代崭露头角的
25:00 was writer, director, and occasional actor Oscar Micheaux. ‎是编剧、导演 ‎偶尔也做演员的奥斯卡·米绍
25:04 He made films for the circuit of Black theaters, ‎他为黑人影院拍摄电影
25:06 many of which were not in very good shape ‎其中很多预算非常紧缩
25:08 because there was not a consistent flow of Black films ‎因为尽管黑人观众数量一直很庞大
25:12 despite the consistency of Black audiences. ‎黑人电影数量却并不多
25:16 Keep in mind, many studios were afraid to offend Germany ‎别忘了 在1942年被纳粹驱逐之前
25:20 and risk losing that business, ‎许多电影公司都不敢得罪德国
25:21 until they were kicked out by the Nazis in 1942. ‎不敢冒险 怕失去生意
25:25 But African-American money wasn't good enough for them. ‎但他们不觉得非裔美国人的钱好
25:28 Many of those Black theaters were buildings and rooms ‎许多黑人影院都是
25:31 that were converted into movie theaters. ‎由建筑物和房间改造而成的电影院
25:34 On very small budgets, Micheaux and other filmmakers, ‎在很少的预算下 ‎米绍和其他电影制作人
25:37 even some whites, created original material ‎甚至包括一些白人创作了原创素材
25:40 and adapted popular books they couldn't afford to pay much for, ‎改编了 ‎他们并不太能负担起的流行书籍
25:44 but the authors went along ‎但作者们也同意了
25:45 because they wanted their books turned into movies. ‎因为他们想把自己的书拍成电影
25:52 Astaire often played master-servant relationships in his films, ‎阿斯泰尔经常在他的电影中 ‎扮演主仆关系
25:56 exaggerated in scenes where he's tapping in front of a bunch of Black actors. ‎他在一群黑人演员面前 ‎跳踢踏舞的场景表现得很夸张
26:03 As the studios continued to hammer out a crude mythology about African Americans, ‎当电影公司继续编织一个 ‎关于非裔美国人的粗糙神话时
26:08 director Alice Guy-Blaché decided to do something else entirely. ‎爱丽丝·盖·布兰琪导演 ‎决定做一些完全不同的事
26:12 In 1912, she directed A Fool and His Money, ‎1912年 她执导了《傻子和他的钱》
26:16 what's said to be the first film with an all-African-American cast. ‎据说这是第一部 ‎全是非裔美国人主演的电影
26:20 Her artistry showed a playful clarity and did not diminish those actors. ‎她的艺术表现出一种俏皮的清晰 ‎并没有削弱那些演员
26:29 She was successful enough in those days that studios sought her out, ‎她在那个年代非常成功 ‎电影公司都找她谈工作
26:33 and given the care she used to make her art, ‎考虑到她在艺术创作上的用心
26:35 it was only logical that she turned down the chance ‎她拒绝拍摄首部《泰山》电影的机会
26:38 to make the first Tarzan movie. ‎是非常合乎逻辑的
26:42 The Black filmmakers of that era were hustling, driven cinema lovers ‎那个时代的黑人电影人 ‎是忙碌的、干劲十足的电影爱好者
26:45 who worked an early version of independent film. ‎他们创作了独立电影的早期版本
26:49 Back in this day, "independent film" didn't mean ‎在那个年代 “独立电影”并不意味着
26:52 being a cool, desirable outsider ‎成为一个酷炫的、令人向往的
26:54 whose success got you access to incredible resources. ‎能让你获得不可思议资源的局外人
26:58 It meant you were locked out of the theaters ‎而是意味着你被电影院的老板
27:00 by the studios who owned them. ‎锁在外面了
27:02 You were left to invent ways to get your product to audiences. ‎你只能自己想办法 ‎把你的产品推向受众
27:06 Micheaux and his like-minded spirits ‎米绍和他志同道合的人
27:09 were making dramas, comedies, musicals, and murder mysteries. ‎都在拍戏剧、喜剧 ‎音乐剧和谋杀悬疑剧
27:14 Sometimes smashing the genres together into a single film ‎有时把不同类型的电影揉成一部电影
27:18 because their resources were limited ‎因为他们的资源有限
27:20 even though their ambitions were not. ‎尽管他们的野心非常之大
27:22 Because, for most of the history of the movies, ‎因为在电影历史的大部分时间里
27:26 studios have been content to leave Black money on the table, ‎电影公司一直满足于不理睬黑人的钱
27:29 and Black enterprise has responded, creating, as it always has, ‎而黑人企业也做出了回应 ‎一如既往地创造了
27:33 a de facto underground economy and culture. ‎一种事实上的地下经济和文化
27:43 [Mitchell] Though we wouldn't see evidence of it until later, ‎虽然直到后来我们才看到它的证据
27:46 actor-turned-filmmaker William Greaves used the medium ‎但演员出身的电影制作人 ‎威廉·格里夫斯
27:49 in a way that feels novelistic now. ‎以一种现在感觉很新奇的方式 ‎使用了这种媒介
27:52 After losing interest in acting ‎在对表演失去兴趣之后
27:54 because of the simplistic uplift he'd been cast in ‎因为他被给予的角色 ‎都非常振奋活力…
27:57 Well, now, Aunt Hattie, everything moves fast in war. ‎好吧 哈蒂姑妈 ‎战争中一切都进展得很快
28:01 Even our religious services had to be speeded up. ‎连我们的宗教仪式也都必须加快
28:04 he begins production on a pioneering effort, ‎…他开始了开创性的创作
28:06 Symbiopsychotaxiplasm. ‎《联合精神系》
28:10 No, I said, "Don't touch me, please." Don't ever touch me ever again, ever. ‎不 我说的是“请别碰我” ‎永远不要再碰我 永远不要
28:14 [Mitchell] Symbiopsychotaxiplasm's ambitions, both formal and freewheeling, ‎《联合精神系》的野心 ‎无论是正式的还是不受拘束的 ‎都和它的标题一样大
28:18 were as big as its title. ‎无论是正式的还是不受拘束的 ‎都和它的标题一样大
28:20 It plays with time in every way possible. ‎它以各种可能的方式玩弄时间概念
28:24 The director, Bill Greaves, ‎比尔·格里夫斯导演
28:26 he is so far in into, you know, making the film, that he has no perspective. ‎他对这部电影的拍摄太投入了 ‎以致于没有任何视角
28:31 And if you ask him, "What is the film about?" you know, ‎如果你问他 ‎“这部电影讲的是什么?” ‎他只会给你一个比问题更模糊的答案
28:34 he just gives you some answer that's just vaguer than the question. ‎他只会给你一个比问题更模糊的答案
28:38 [Louise Greaves] I think he was kind of torn. He wanted to see the scene well-done. ‎我觉得他有点纠结 ‎他想把这一幕拍好
28:44 He wanted his actors to be inspired in some way. ‎他希望他的演员 ‎在某种程度上受到启发
28:48 So I think he was being both pushed and pulled in both directions. ‎所以我认为 ‎他被两个方向的人推来拉去
28:52 That's my theory, anyway. ‎反正这是我的理论
28:55 [Mitchell] For decades, people would tie themselves up into knots ‎几十年来 人们总是过分纠结于
28:58 trying to describe Symbiopsychotaxiplasm. ‎试图描述《联合精神系》
29:02 It's now a kind of film so common that it's become its own genre, ‎它现在是一种非常常见的电影 ‎已经成为了自己单独的类型
29:06 the innovative, social satire, prank film. ‎成为了创新的 ‎讽刺社会的、恶作剧的电影
29:11 Director Jules Dassin, who had been, if you'll pardon the expression, ‎请原谅这种表述 ‎导演朱尔斯·达辛曾被列入“黑”名单
29:15 blacklisted, brought race politics to a studio thriller ‎他将种族政治 ‎带入了电影公司惊悚片《焦虑不安》
29:19 in Uptight, which he wrote for the film's Black costars. ‎并为该片的黑人主演撰写了剧本
29:23 Dassin, Dee, and Mayfield were shrewd, earnest, and shameless, ‎达辛、迪伊和梅菲尔德 ‎精明、认真、无耻
29:28 enfolding the world-gone-wrong impact of Dr. King's death into a genre film. ‎他们把金博士之死对世界 ‎造成的巨大影响拍成了一部类型片
29:35 [Fishburne] Martin Luther King was assassinated in '68. ‎马丁·路德·金在1968年遇刺身亡
29:38 My mother dropped everything and went to the funeral. ‎我母亲放下一切去参加了葬礼
29:42 She didn't know this man, ‎她不认识这个人
29:44 but she dropped everything and put on her best clothes and left. ‎但她放下了一切 ‎穿上她最好的衣服出门了
29:49 And that was, like, "Oh, so this is important?" ‎这就感觉是 ‎“哦 所以这很重要?”
29:51 Like, this guy was important. ‎这个人很重要
29:53 What he was doing was important. What he was talking about was important. ‎他所做的事很重要 ‎他所说的话很重要
29:58 We are important. ‎我们很重要
30:00 Our voices, our hopes, our dreams, our aspirations, ‎我们的声音、我们的希望 ‎我们的梦想、我们的抱负
30:03 all that stuff, that's important. ‎所有的事都很重要
30:05 [Martin Luther King] We hold these truths to be self-evident. ‎我们认为这些真理是不言而喻的
30:08 [Mitchell] Uptight depicted the shaky anguish ‎《焦虑不安》描绘了一个
30:10 and free-floating fury of a society desperate for answers, ‎渴望答案的社会颤抖的痛苦 ‎和自由转移的愤怒
30:14 the heart of genre film. ‎这是类型片的核心
30:16 [Jackson] The day after Dr. King got killed, ‎金博士被杀的第二天
30:18 we got on a plane in Atlanta, from Morehouse Spelman, ‎我们从莫尔豪斯斯佩尔曼 ‎坐上了亚特兰大的飞机
30:21 and flew to Memphis and marched with the garbage workers. ‎飞到孟菲斯 和垃圾工人一起游行
30:24 And we had those "I am a man" signs. We used to have them in the house. ‎我们还有"我是人"的标志 ‎我们以前家里就有
30:36 [Mitchell] In an audacious turn on the heist genre, ‎影片大胆地转向抢劫类型
30:39 a group of revolutionaries is out to stage a robbery ‎一群革命者正要去上演一场抢劫
30:41 while Cleveland reels after Dr. King's assassination. ‎而克利夫兰在金博士遇刺后摇摇欲坠
30:45 A key member of the team, ‎团队的一个关键成员
30:47 at loose ends because of the chaos spilling from King's death, ‎由于金的死亡导致混乱蔓延 ‎不知如何是好
30:50 has a crisis of conscience. ‎产生了良知危机 在对与错中徘徊
30:52 I've never felt so bad in all my life. ‎我这辈子从没这么难过过
30:55 Uptight is a contemporary version of a 1935 John Ford movie ‎《焦虑不安》是1935年 ‎一部约翰·福特电影的当代版本
31:00 and begins a cycle where Black concerns are folded into remakes. ‎它开始了一个循环 ‎即对黑人的关注变成了重拍
31:04 [Jackson] Is that the one that's like a remake of The Informer? ‎那东西是翻拍版的《告密者》吗?
31:07 I knew what The Informer was, so when I saw that, I knew exactly what it was. ‎我知道《告密者》是什么 ‎所以当我看到它时 我就清楚了
31:10 So, you look at it, and everybody had a thing ‎你看着它 每个人
31:13 about, you know, certain kinds of people was just the police. ‎都对某些人有看法 怀疑是警察
31:17 If you're at a party, and you're passing a joint around, ‎如果你在一个派对上四处传递大麻
31:19 and a dude don't take the joint and hands it to somebody else ‎有一个人没有拿着大麻递给别人
31:21 [muttering] it's like, "Oh man, he's the police." You know? ‎感觉就像是 ‎“天啊 他是警察” 你知道吗?
31:24 Or or somebody is acting strange, you know, around the group when y'all ‎或者有人在小组里表现得很奇怪
31:29 you know, when we was revolutionaries, ‎而我们所有人都是革命者
31:31 when you had a revolutionary cadre of your own, uh, ‎当你有自己的革命团体之时
31:35 there was always somebody who was suspect. ‎总有人受到怀疑
31:37 So having that movie be that was, you know, like that. ‎所以那部电影就是那样的
31:42 [Mitchell] In his autobiography, Booker T. Jones, who composed the score, ‎编曲人布克·T·琼斯 ‎在他的自传中说
31:46 said some called Uptight the first blaxploitation film. ‎有些人把《焦虑不安》 ‎称为第一部黑人剥削电影
31:51 On another continent, from another culture, ‎在另一个大陆 来自另一种文化
31:54 was a studio film from Italy, ‎有一部来自意大利的电影公司电影
31:56 and, like many movies that changed the medium, ‎就像许多改变了媒介的电影一样
31:58 it was from a genre dismissed as second-rate, ‎它来自一种被认为是二流的类型片
32:01 in this case, the spaghetti western. ‎在这种情况下 它是意大利西部片
32:07 A little later in the movie, ‎在电影的后面
32:09 this scene was something the director wanted to use ‎这个场景是导演想用来
32:12 to drive a stake through the heart of audience expectation. ‎用木桩刺穿观众期待之心 ‎与他们的期待截然相反
32:15 Making Henry Fonda cold-blooded was shattering. ‎让亨利·方达变得冷血无情 ‎产生了巨大影响
32:19 He was America's big-screen moral compass. ‎他是美国大银幕上的道德指南针
32:22 But Isaac Hayes, in need of a hit, ‎但艾萨克·海斯急需一部大热电影
32:24 was inspired by seeing Leone's perverse use of Fonda, ‎他受到了莱翁内对方达 ‎不正当使用的启发
32:28 who belonged on the movie Mount Rushmore of white decency ‎方达出演了 ‎白人行为准则的电影《拉什莫尔山》
32:31 with John Wayne, Jimmy Stewart, and Shirley Temple. ‎与约翰·韦恩、吉米·斯图尔特 ‎秀兰·邓波儿同属一个时代
32:36 So moved that producer-performer Hayes created this piece of music. ‎如此感动以至于制作人 ‎兼演奏家海耶斯创作了这首音乐
32:58 Hayes told me that he would escape the malfunctioning air-conditioning ‎海耶斯告诉我 ‎为了避开斯塔克斯影城
33:02 at Stax Studios by going to see this movie, ‎出现故障的空调 他会去看这部
33:05 which he caught at least ten times. ‎他至少看了十遍的电影
33:07 Woody Strode's towering presence convinced Hayes ‎伍迪·斯特罗德的卓越表现 ‎让海耶斯相信
33:09 that he could one day be a movie star, ‎他有一天会成为电影明星
33:12 and in a genre where Black inclusion was marginal at best, the Western. ‎而在西部电影类型中 ‎黑人最多只能算是边缘人物
33:16 More importantly, Once Upon a Time also motivated Hayes to create this ‎更重要的是《西部往事》 ‎也激励海耶斯为他的
33:21 for his Hot Buttered Soul album. ‎《热黄油灵魂》专辑创作了这首歌
33:34 When Gordon Parks adapted his semi-autobiographical novel, ‎1969年 戈登·帕克斯改编了他的
33:38 The Learning Tree, in 1969, ‎半自传体小说《学习之树》
33:40 he made the first studio-financed film by an African-American director. ‎他制作了第一部由电影公司出资 ‎由非裔美国导演执导的电影
33:45 Warner Bros. got its money's worth from the photographer-turned-filmmaker. ‎华纳兄弟从这位由摄影师转行的 ‎电影制作人身上得到了超值回报
33:49 He wrote, directed, produced, and composed the score. ‎他自编、自导、自制、自创配乐
33:53 He joked to me that the only reason he didn't star in it ‎他跟我开玩笑说 ‎他没有出演这部电影的唯一原因
33:57 was because he was too tall. ‎是他太高了
33:59 Learning Tree follows Newt, a 12-year-old, over the course of a summer. ‎《学习之树》跟随12岁的纽特 ‎度过了一个夏天
34:04 One incident carries a resonance that the movie can't shake. ‎有一件事引起了电影无法摆脱的共鸣
34:08 Run, Tuck, run! ‎快跑 塔克 快跑!
34:09 A moment so potent it seems surreal and way too real, ‎这一刻如此有力 ‎似乎超现实又过于真实
34:13 a beat that didn't get it's due at the time. ‎电影在当时没有得到应有的反响
34:15 -[man] Stop, damn it! I'll shoot! -[gun fires] ‎停下 该死!我开枪了!
34:38 You didn't have to shoot Tuck. ‎你没必要开枪打塔克
34:41 Now you can see what happens to criminals. ‎现在你可以看到罪犯的下场了
34:43 [Mitchell] The type of scene we all knew about but never expected to see in a movie. ‎这种场景我们都知道 ‎但从未想过会在电影中看到
34:48 And Parks also told me he packed as much as he could into the film, ‎帕克斯还告诉我 ‎他在电影中放入了尽可能多的内容
34:52 such as this glorious image claiming the Western for Black audiences, ‎比如这个为黑人观众 ‎宣传西部片的壮丽画面
34:57 because he didn't know ‎因为他不知道
34:58 if he'd ever get a chance to make another one. ‎他是否还有机会再制作一部电影
35:02 1969 took us from the hyperreal to the unreal. ‎1969年把我们从超真实带到了不真实
35:06 The wildness flowered in full force ‎在编剧兼导演老罗伯特·唐尼
35:08 in writer-director Robert Downey Sr.'s revolutionary comedy about revolution, ‎关于革命的革命性喜剧 ‎广告讽刺片《帕特尼·斯沃普》中
35:14 the advertising satire Putney Swope. ‎野性发挥到了极致
35:17 You can't eat an air conditioner. ‎你不能吃空调
35:20 [Mitchell] Here, a Black man, Putney Swope, ‎电影中一个黑人帕特尼·斯沃普
35:22 is suddenly made the head of an advertising agency ‎突然被任命为一家广告公司的总裁…
35:25 You're gonna make a great chairman. ‎你会成为一个很棒的董事长
35:27 and immediately upends the way the agency does business. ‎…并立刻颠覆了公司的运作方式
35:30 I have a feeling that there's a lot of untapped talent around here. ‎我觉得这里有很多未开发的人才
35:35 I didn't do it! ‎我没有做!
35:36 Then what are you doing? Taking her temperature? ‎那你在干什么?测她的体温?
35:38 Boss, don't fire me. I got a wife, three kids, and a Shetland pony. ‎老板 别开除我 我有妻子 ‎三个孩子 还有一匹谢德兰矮种马
35:43 You can get more said with comedy than you can get said straight, ‎你可以用喜剧表达思想 ‎比直接表达更深入人心
35:48 and I think that's what Blacks had to survive. ‎我认为这是黑人赖以生存的东西
35:51 You had to, uh, make 'em laugh under the subtext. ‎你必须让他们在潜台词下发笑
35:55 Downey saw an opening ‎唐尼看到了一个机会
35:58 where we could play and be cutting and biting. ‎我们可以边玩边撕咬
36:02 And I don't use words like "genius," but it was a stroke of something. ‎我不想用"天才"这个词 ‎但这确实是很天才
36:06 [Mitchell] Unhappy with the performance of his star, actor Arnold Johnson, ‎由于不满意他的主演 ‎演员阿诺德·约翰逊的表演
36:11 director Downey dubbed his own voice for his lead Black character ‎导演唐尼亲自为他的黑人主角配音…
36:15 Truth and Soul! ‎真理和灵魂!
36:18 -[man] TS, baby. -That's right! ‎-真理和灵魂 宝贝 ‎-没错!
36:20 a move that surely later influenced ‎…这一举动无疑后来影响了
36:22 his son's Oscar-nominated role in Tropic Thunder. ‎他儿子在《热带惊雷》中 ‎获得奥斯卡提名的角色
36:25 'Cause I'm trying to come up a little, but it's just it's tough. ‎因为我想说点什么 但这太难了
36:28 -No, you look good. -Any tips? ‎-不 你看起来不错 ‎-有小费吗?
36:32 [Mitchell] 1969 was a watershed period in Black film, ‎1969年是黑人电影的分水岭
36:35 in which stories took a harsher and more realistic look ‎其中的故事对黑人过去的生活
36:38 at Black life in the past, ‎进行了更严酷、更现实的审视
36:40 such as with the first American films to deal, in somewhat stark terms, ‎比如美国第一批讲述… ‎用直白的词汇表达
36:45 with slavery. ‎讲述奴隶制的电影
36:46 The movie was called Slaves, ‎其中一部电影叫《奴隶》
36:48 which both starred Dionne Warwick ‎由迪翁·沃里克主演
36:50 and offered her singing about a different kind of hurt ‎也让她唱一种不同于
36:53 than one might have expected from her. ‎人们通常对她了解的受伤
36:56 Ossie Davis plays a slave attempting to hold onto logic ‎奥西·戴维斯饰演 ‎试图在一个毫无逻辑的系统中
36:59 in a system that has none. ‎坚持逻辑的奴隶
37:00 Twelve hundred twice. Anyone else? ‎一千二百美元两次 还有别人吗?
37:03 [Mitchell] Davis's regal slow burn doesn't hide his despair. ‎戴维斯那王者般的逐渐愤怒 ‎并不能掩盖他的绝望
37:07 In fact, it magnifies this. ‎事实上 还把这个放大了
37:16 The historic tumult continues when Rupert Crosse becomes ‎鲁珀特·克罗斯凭借《劫持者》成为
37:19 the first Black actor to be nominated for an Oscar for Best Supporting Actor ‎首位获得奥斯卡最佳男配角提名的
37:23 for The Reivers. ‎黑人演员 历史骚动继续发展
37:29 How do you start this thing? ‎这个东西怎么启动?
37:31 [Mitchell] Crosse's sunny fluidity frees McQueen from his laconic narcissism. ‎克罗斯的阳光灵动 ‎让麦昆从简短自恋中解脱出来
37:35 He pays attention to Crosse ‎他关注克罗斯
37:37 and allows us to honor Crosse in the same way. ‎也让我们以同样的方式尊重克罗斯
37:41 Ten years earlier, Crosse was featured in Shadows, ‎十年前 克罗斯出演了《暗影》
37:44 John Cassavetes' 1959 race drama that was, of course, independently made. ‎约翰·卡萨维蒂1959年的种族 ‎题材电影 当然是独立制作的
37:50 You like that one about the rabbit and the tree? ‎你喜欢兔子和树的那个故事吗?
37:53 I don't know that one. ‎我不知道那个故事
37:55 You know that one about the rabbit that fell on out the tree and says, ‎就是有只兔子从树上掉下来 然后说
37:58 "Man, that lovemaking's for the birds." ‎“天啊 树上做爱是鸟儿专属”
38:01 [Mitchell] Director Mark Rydell, ‎马克·莱德尔导演
38:02 who knew Crosse from the Actors Studio, brought him into The Reivers. ‎他在演员工作室认识了克劳斯 ‎让他出演了《劫持者》
38:06 [Rydell] Rupert Crosse was 6 foot 5 inches tall, ‎鲁珀特·克罗斯身高1.95米
38:09 and I knew he was right for the part to play opposite Steve. ‎我知道他是 ‎和史蒂夫对手戏的正确人选
38:13 It was awesome to drive up to Steve McQueen's house ‎开车去史蒂夫·麦奎因家真是太棒了
38:16 because there were maybe ten garages ‎因为那里大概有十个车库
38:19 with all kinds of cars, Ferraris and, uh, Aston Martins ‎里面有各种各样的车 ‎法拉利、阿斯顿马丁
38:23 and racing motorcycles. ‎还有赛车
38:25 An enormous piece of property, a courtyard. It was it was very lavish. ‎一块巨大的房产 一个庭院 非常奢华
38:29 And Rupert had never seen anything like that before, ‎鲁珀特以前从未见过这样的事
38:32 and I must tell you, I hadn't either till I met Steve. ‎我必须告诉你 我也没见过 ‎直到我遇到史蒂夫
38:36 I lived a little bit more modestly but certainly better than Rupert, ‎我的生活简朴一些 ‎但肯定比鲁珀特要好
38:39 who had no no money and was living like a young actor. ‎他没有钱 ‎过着像年轻演员一样的生活
38:42 Well, we walked into the house, and Rupert met Steve, ‎我们走进房子 鲁珀特遇到了史蒂夫
38:45 and, uh, Steve looked up at this giant, and we sat down in his kind of library, ‎史蒂夫抬头看着这个巨人 ‎我们在他家像图书馆一样的地方坐下
38:50 and Steve began to talk about, uh, tae kwon do. ‎史蒂夫开始谈论跆拳道
38:53 You know, he was a master of those fighting disciplines, ‎他是格斗的大师
38:57 and, uh, he was showing Rupert some moves, and Rupert said, ‎他在给鲁珀特展示一些动作 ‎鲁珀特说
39:00 "No, you're off-balance," said Rupert from his chair. ‎鲁珀特坐在椅子上说 ‎“不对 你失去平衡了”
39:05 And I saw-- And Steve looked at him, he said, "Oh?" ‎然后我看见… ‎史蒂夫看着他 他说:“哦?”
39:09 He said, "Yes, you're off-balance, you know." ‎他说:“是的 你失去平衡了”
39:11 "It's wrong, the way you're standing." So Steve said, "Show me." ‎“你站的姿势不对” ‎所以史蒂夫说:“展示给我看看”
39:15 And Rupert uncoiled and stood up at his height, ‎鲁珀特打开身体 站直变高
39:19 and they faced one another, and in two seconds, ‎他们面对面 两秒钟后
39:22 Steve was flying through the air ‎史蒂夫就在台球桌下
39:25 under the billiard table in the-- Actually, the next room. ‎飞快穿梭… 实际上就是隔壁房间
39:28 So-- And I thought, "Well, the picture's over." ‎所以…我心想:“好了 电影结束了”
39:31 "You know, there goes Rupert." ‎“‎鲁珀特的戏份拍好了‎”
39:33 But the truth of the matter is Steve was thrilled, you know, ‎但事实是 史蒂夫很高兴
39:37 that, uh that this guy was not afraid of him. ‎这个人不怕他
39:39 [Mitchell] Among the curious and forward-thinking artists that populated LA's film world, ‎在洛杉矶电影界 ‎众多充满好奇心和前瞻性的艺术家中
39:44 which included Jack Nicholson and screenwriter Robert Towne, ‎包括杰克·尼科尔森 ‎和编剧罗伯特·汤
39:48 Rupert Crosse was a charismatic figure, admired for his talent. ‎鲁珀特·克罗斯是一个有魅力的人物 ‎他的才华令人钦佩
39:52 As Jim Brown and Rupert Crosse ‎当吉姆·布朗和鲁珀特·克罗斯
39:54 were presenting a new type of Black masculinity, ‎在展示一种新型的黑人男子气概时
39:57 Brown, who was simultaneously courtly and impatient, ‎彬彬有礼而又缺乏耐心的布朗
40:01 and Crosse's smiling insolence, ‎以及克罗斯微笑着的傲慢无礼
40:03 Muhammad Ali, who was for me the second Black public figure ‎在我看来 穆罕默德·阿里是第二位
40:07 to be the same with Black audiences as with white audiences, ‎在黑人观众和白人观众中 ‎同样受欢迎的公众人物
40:10 had his version of courtliness and insolence displayed ‎他在1970年的纪录片 ‎《卡修斯·克莱》中
40:13 in the 1970 documentary a.k.a. Cassius Clay. ‎展现了自己的彬彬有礼和傲慢无礼
40:16 [narrator] He was paying lawyers to keep him out of jail, ‎他花钱请律师让自己免于牢狱之灾
40:19 paying alimony to his first wife, ‎给第一任妻子支付赡养费
40:21 supporting his current wife and child. ‎供养现任妻子和孩子
40:25 [Mitchell] This unusual documentary caught Ali at the crossroads of who he was ‎这部不同寻常的纪录片 ‎让阿里站在了他过去是谁
40:29 and who he would become. ‎以及将成为谁的十字路口
40:31 Important because it shows the self-possession ‎因为它展现了一种泰然自若而重要
40:33 that will be the core of Black film. ‎这将是黑色电影的核心
40:36 And the first such Black figure to break through in the same way as Ali, ‎第一位像阿里一样 ‎取得突破的黑人人物
40:40 not trying to hide from the mainstream gaze, ‎保持一种不畏惧主流意见的自信态度
40:42 was Jack Johnson, whose struggles were depicted in the play ‎是杰克·约翰逊 ‎他的奋斗被描述在戏剧中
40:45 and now the movie The Great White Hope, ‎现在被拍成电影《拳王奋斗史》
40:48 where James Earl Jones would become the second Black man ‎詹姆斯·厄尔·琼斯将成为 ‎第二位获得
40:51 to get a Best Actor nomination. ‎最佳男主角提名的黑人
41:04 [Mitchell] James Earl Jones rose to the occasion as a lean sexual presence ‎詹姆斯·厄尔·琼斯 ‎在他的银幕生涯中
41:09 for one of the few times in his on-screen career. ‎为数不多的几次 ‎以瘦削的性感形象脱颖而出
41:11 -No, no! I'm-- -Put your clothes on, Miss Bachman. ‎-不!我… ‎-穿上你的衣服 巴克曼小姐
41:14 -We'll take you into town. -Jake! ‎-我们带你进城 ‎-杰克!
41:15 Don't you fret now. Just get dressed. ‎你不用担心 穿上衣服就好
41:17 [Mitchell] Interracial sexuality and the unease it created ‎跨种族的性行为及其引发的不安
41:21 whipped up waves of anxiety in film in 1970. ‎在1970年的电影中掀起了焦虑浪潮
41:24 The Great White Hope reminded viewers ‎《拳王奋斗史》提醒观众
41:26 that those relationships were based on appetites. ‎这些关系是建立在欲望之上的
41:29 The changes left at least one esteemed filmmaker at a loss, ‎这些变化至少让一位 ‎受人尊敬的电影人感到不知所措
41:33 director William Wyler, whose ability to depict societal shift ‎他就是导演威廉·怀勒 ‎他描绘社会变迁的能力
41:36 can be seen in films such as The Best Years of Our Lives. ‎可以在 ‎《我们最好的岁月》等电影中看到
41:41 And Wyler set a template with his 1965 proto-stalker film, The Collector. ‎怀勒在1965年跟踪狂原型电影 ‎《收藏家》中树立了一个模板
41:46 His last film was The Liberation of L.B. Jones, ‎他的最后一部电影 ‎是《L.B.琼斯的解放》
41:49 and his power to coherently translate up-to-the-minute drama failed him ‎他能连贯转变当代最新戏剧的能力 ‎却让他失败了
41:54 with this hysterical fetishizing of Black female flesh. ‎因为歇斯底里地迷恋黑人女性肉体
42:02 -You fancy goin' to lawyers? -Sugar boy, you bustin' my arm. ‎-你喜欢找律师吗? ‎-甜心 你要弄断我胳膊了
42:05 You fancy goin' to lawyers! You think they wouldn't warn a white man? ‎你喜欢找律师! ‎你觉得他们不会警告一个白人吗?
42:10 I seen fools, but you take the sap-suckin' prize. ‎我见过傻瓜 但你是最傻的
42:14 [Mitchell] After directing the documentary King: A Filmed Record, ‎在执导完纪录片 ‎《国王:拍摄的记录》后
42:18 Sidney Lumet turned to something that sounded tantalizing, ‎西德尼‎· ‎鲁梅特 ‎开始转做听起来撩人的事
42:20 a Gore Vidal script adapted from a Tennessee Williams play ‎改编自田纳西‎·‎威廉姆斯戏剧的 ‎一个戈尔·维达尔的脚本
42:24 dealing with race and sex ‎讲述种族和性
42:26 with James Coburn, Robert Hooks, and Lynn Redgrave. ‎由詹姆斯·柯本、罗伯特·胡克斯 ‎和琳恩·蕾格烈芙出演
42:30 The desperate-to-be-lurid result was Last of the Mobile Hotshots, ‎最耸人听闻的结果是《鹊巢鸠占》
42:33 which got an X rating, ‎被评级为少儿不宜X级
42:35 apparently because a Black man might have sex with a white woman. ‎很明显是因为一个黑人男性 ‎要和一个白人女性做爱
42:41 The oven door's broke, the roof leaks, the toilet runs all day, ‎烤箱门坏了 ‎(《地主》1970年 ‎导演:哈尔·阿什比)
42:46 and you awful cute to be a landlord. ‎而你做房东很可爱
42:48 [Mitchell] Diana Sands' ability to enchant was evident in 1970's The Landlord, ‎戴安娜‎·‎桑兹的迷人能力在20世纪 ‎70年代的《地主》中得以展现
42:53 and this early story of the turmoil caused by an overprivileged white man ‎以及由一个权势滔天的白人 ‎他让全部是黑人的布鲁克林街贵族化
42:58 gentrifying an all-Black Brooklyn street continued the trend, ‎引起骚动的早期故事 ‎延续了这个趋势
43:01 that of a Black writer, Bill Gunn, adapting a novel ‎黑人编剧比尔·冈恩改编了一本
43:05 by a Black writer, Kristin Hunter. ‎由黑人作家克莉丝汀‎·‎亨特所著小说
43:09 This actor's earthy commonsense command was made for the screen. ‎这个演员的务实简直是为银幕而生
43:13 Sands could convey as much with a chuckle and a smile ‎桑兹可以用简单的轻笑和微笑表达出
43:16 as most actors could with pages of dialogue. ‎多数演员需要大量对话内容 ‎表现出的东西
43:23 [Glynn Turman] Diana Sands was just the perfect auntie because she knew how to be a big kid. ‎戴安娜‎·‎桑兹是个完美的阿姨 ‎因为她知道怎么做个大孩子
43:28 She was such a a giving person, ‎她是个非常慷慨的人
43:31 such a joy, uh, to be around. ‎很高兴能和她待在一起
43:35 [Mitchell] 1970 brought Chester Himes to the screen in a way that finally made sense. ‎1970年终于让切斯特·希姆斯 ‎以合理的方式出现在了银幕上
43:40 In his directorial debut, ‎在他执导的处女作里
43:42 Ossie Davis spins the long-standing myth of the emotional Black sexpot on its head ‎奥西·戴维斯用希姆斯小说里的场景
43:47 by using a scene right from Himes' novel. ‎扭转了人们长久以来 ‎认为这个黑人多情性感的想法
43:50 In his book, Himes adds a hint of bitterness ‎在希姆斯的书里 ‎他在这个局势扭转的故事中
43:53 to this turn-the-tables anecdote about a Black woman luring a white cop ‎一位黑人女性引诱一个白人警察 ‎进行性侮辱的故事中
43:57 into sexual humiliation. ‎加了一丝苦涩
43:59 Please, baby. ‎求你了 宝贝
44:03 Please. ‎求你了
44:09 [Mitchell] The film adaptation cranked the glee ‎这部电影改编增加了乐趣
44:11 of an audience bored by Black degradation ‎观众对黑人堕落早已厌倦
44:14 and revels in Davis's flipping the script under a proscenium arch. ‎却陶醉于戴维斯在舞台口 ‎将重要位置交给黑人演员的反转
44:18 -[man] Halt in the name of the law! -[gun fires] -Halt in the name of the law! -[funk music playing] ‎以法律的名义停下!
44:23 [Mitchell] The Davis take on Himes' Old Testament avenger Harlem cops ‎戴维斯展现的希姆斯书中 ‎哈莱姆警察的暴力和仇恨
44:28 was a playful and Afrocentric fable that introduced the concept of high style, ‎是一个围绕非洲的有趣寓言 ‎介绍了优雅时尚的概念
44:33 scored by Hair composer Galt MacDermot, to Black action. ‎由《长发侠》作曲家高尔特·梅德谟 ‎给黑人动作片作曲
44:37 The beautifully dressed detectives, ‎穿戴靓丽的侦探
44:38 played by the wry Godfrey Cambridge and quick-tempered Raymond St. Jacques, ‎由啼笑皆非的演员戈弗雷·坎布里奇 ‎和急性子的雷蒙德·圣雅克扮演
44:43 were part of an eager group of Black stage actors Davis put together. ‎他们属于戴维斯组织的 ‎一群急切成功的黑人舞台演员
44:47 -What is it? -Look at this. ‎-这是什么? ‎-看看这个
44:50 [Fishburne] Oh my God, those blue shirts he was wearing, ‎我的天啊 他穿的那些蓝衬衫
44:53 that suit he was wearing, ‎跟他穿的很搭配
44:54 the way he had his mustache manicured, he was clean as a motherfucker, man. ‎他剪胡子的方式 他非常的优雅 天啊
44:59 You saw that white joker. Did you identify him? ‎你看到那个白人小丑了 ‎你认出他了吗?
45:03 I don't know, Lieutenant. Maybe yes, maybe no. ‎我不知道 中尉 ‎也许认出了 也许没有
45:07 All those kinda people look alike to me. ‎那些人对我而言都长得很像
45:09 [Mitchell] As a stage actor himself, Davis knew that audiences would respond ‎由于是戏剧演员 戴维斯了解观众
45:14 to the warmth of Black actors basking in their comrades' glory, ‎会对黑人演员享受彼此的成就 ‎作出回应
45:17 an aspect he probably wanted movie audiences to experience. ‎他可能想要让电影观众 ‎经历这一方面
45:22 There's a lot of fantasy going on in Cotton Comes to Harlem. ‎在《龙虎黑煞星》里有很多幻想
45:28 It's a fairy tale. ‎这是一个童话故事
45:29 But what's great is ‎但最棒的是
45:31 Ossie Davis uses Harlem ‎奥西·戴维斯以一种我觉得
45:34 in a way that I don't think we'd ever seen it before. ‎从未见过的方式使用了哈莱姆
45:37 It's totally authentic. ‎完全是真实的
45:39 It is totally itself. ‎完全是它自己
45:41 And he's got this fantasy playing out in the midst of the reality of Harlem. ‎他在哈莱姆的现实中扮演着这个幻想
45:46 [Mitchell] Davis took a mantra from Black revolutionaries ‎戴维斯从黑人革命分子中学了一句话
45:49 and made it a call-and-response song ‎把它写成了一首可以跟观众对唱的歌
45:51 -["Black Enough" by Melba Moore playing] - Black enough for me ‎对我而言足够黑了
45:56 [Mitchell] of looking forward to the day when Black pride will be celebrated ‎我渴望着以后黑人游行
45:59 by society at large rather than viewed as a demand for change. ‎会被全社会庆祝 ‎而不是被看成是要求转变
46:03 Which it was, by the way, but the song gives it a lilt. ‎顺便说一句 以前是这样的 ‎但歌曲给了它欢快的节奏
46:07 Black enough for me ‎对我而言足够黑了
46:12 It's that one line that repeats itself throughout, ‎这句话从头到尾一直在重复
46:14 which is fantastic. ‎这很棒
46:16 Am I Black enough for you?! ‎对你们而言 我足够黑了吗?
46:19 [Fishburne] Calvin Lockhart and his way of using it when he preaches, ‎当卡尔文·洛克哈特宣讲的时候 ‎以他的方式使用了这句话
46:22 and then Godfrey Cambridge and his way of using it. ‎后来戈弗雷·坎布里奇 ‎以自己的方式用了这句话
46:26 Is that Black enough for you? ‎这对你而言足够黑了吗?
46:28 It changes. It morphs. It has several meanings. ‎它进行了改变、产生变体 ‎它有几种含义
46:31 Is that Black enough for you? ‎对你而言足够黑了吗?
46:33 It ain't, but it's gonna be. ‎还没有 但会的
46:36 That still resonates. ‎那句话至今能产生共鸣
46:39 [Mitchell] Though Davis recognized the need to make the composer ‎虽然戴维斯意识到 ‎需要让作曲家参与讲故事
46:41 part of the storytelling ‎需要让作曲家参与讲故事
46:43 by including MacDermot on Cotton Comes to Harlem, ‎让梅德谟参与《龙虎黑煞星》
46:45 it took Melvin Van Peebles to make the music communicate ‎这需要梅尔文·范·皮布尔斯 ‎让音乐传达
46:48 the shocking nature of the Black experience. ‎黑人经历的震撼性
46:51 His 1970 Watermelon Man is a satire ‎戈弗雷·坎布里奇1970年的电影 ‎《西瓜男人》
46:54 in which a liberal white man wakes up one day to find out he's Black. ‎是讽刺作品 一个思想开明的白人 ‎有一天醒来 发现自己变成了黑人
46:59 Illustrating the bone-deep horror of being Black for whites, ‎展现了白人对成为黑人 ‎深深的恐惧
47:03 Godfrey Cambridge shifts the tone from openly broad and comedic ‎戈弗雷·坎布里奇 ‎从最初的直白喜剧表演…
47:08 Jeff! Jeff! Jeff! There's a Negro in your shower! ‎杰夫!你的浴室里有个黑人!
47:11 [Mitchell] to acting the richly observed and deeper character transformed ‎…因为感受到了许多共鸣 ‎转变成了富有观察的
47:16 by being soaked in empathy, ‎更深层的表演
47:18 an evolution Van Peebles wanted audiences to feel. ‎是范·皮布尔斯 ‎想让观众感受到的演变
47:21 When we got married, I had no idea it was going to be an interracial thing. ‎当我们结婚时 ‎我不知道这会是跨种族的
47:25 -You never told me. -Well, I just got wind of it myself. ‎-你没告诉过我 ‎-我自己也是刚知道
47:29 [Mitchell] Van Peebles engulfs a slight and sleight-of-hand plot ‎范·皮布尔斯用了一个精妙的小布局
47:32 by blending sketch-comedy concepts rendered in big glossy movie terms ‎融合了情景喜剧概念 ‎呈现在华丽的大电影表达方式中
47:36 to meticulously make a film ‎来精心地拍电影
47:38 about the power of dawning Black awareness and responsibility. ‎讲述开始黑人意识和责任的力量
47:41 Where do you think you're going? ‎你以为自己要去哪里?
47:43 -I'm lunching with Clark Dunwoody. -Not in here, you're not. ‎-我要跟克拉克·邓伍迪共进午餐 ‎-你不能进去
47:46 [Mitchell] In a pandemic world, Watermelon Man has gained a new timeliness, ‎在疫情的世界里 ‎《西瓜男人》获得了一个新的时效性
47:50 as whites now understand the concept of living on borrowed time ‎因为白人现在明白了 ‎用借来的时间活着的概念
47:54 the moment you step outside your front door, ‎你走出前门的那一刻 ‎就是借来的时间
47:56 as African Americans always have. ‎就像非裔美国人一直以来那样
48:00 Like Gordon Parks on The Learning Tree the year before, ‎就像前一年《美的世界》里 ‎戈登·帕克斯一样
48:03 Van Peebles composed music for his studio directing debut. ‎范·皮布尔斯为他电影公司导演的 ‎处女作谱了音乐
48:06 When my father did Watermelon Man, and they were trying to decide ‎当我爸爸拍《西瓜男人》的时候 ‎他们要决定
48:10 whether Watermelon Man should come out theatrically, ‎《西瓜男人》是否应该在电影院上映
48:13 they were having a little screening, and all the bigwigs were comin' in, ‎他们在试播 ‎所有电影公司大人物都来了
48:17 and they're all white guys, ‎他们都是白人
48:18 and there's a guy, a brother named Willy, who would sweep up in the screening room. ‎还有一个叫威利的黑人 ‎他打扫放映室
48:22 And my dad had talked to Willy and gave him a couple of bucks ‎我爸跟威利聊了聊 给了他一些美元
48:25 and said, "When they screen my movie, you make sure you like it." ‎说:“当他们放我的电影的时候 ‎确认你会喜欢它”
48:28 So Willy's screening the movie, they screen, uh, Watermelon Man, Willy start ‎所以威利在播放的时候 ‎他们在播放《西瓜男人》的时候
48:31 [chuckling] "Look at that! Oh!" ‎威利说:“看看那个!”
48:34 "That sure is fun--" ‎“真的很有趣…”
48:36 And they were looking at him, "Well, Willy likes it." ‎他们看着他… “好吧 威利喜欢”
48:39 And Willy, "Oh, boss, that sure is good. Look at that." [chuckles] ‎威利还说 ‎“哦 老板 那电影真不错 快看啊”
48:43 "Willy, is this funny to you?" ‎“威利 你觉得有趣吗?”
48:44 "Oh yeah, I can't wait to see this. When is it coming out?" ‎“是的 我等不及要看这个了 ‎什么时候上映?”
48:47 Well, theatrical release. That was their one-man focus group. ‎好了 电影院上映了 ‎那是他们只有一个人的话题小组
48:51 So my dad just did racial jujitsu and flipped it against them. ‎所以我爸爸就用种族柔术对抗了他们
48:57 [Mitchell] Gordon Parks, making a second studio film in 1971, ‎戈登·帕克斯在1971年 ‎拍了第二部电影公司电影
49:02 fully incorporated the marriage of music and film, ‎完全将音乐和电影融合
49:04 a defiant break from the classically influenced European scores of studio fare. ‎从传统受影响的欧洲电影公司 ‎评分体系进行的挑战性转变
49:09 With this movie, Parks follows up on his plan to include Isaac Hayes. ‎有了这部电影 帕克斯继续进行了 ‎他要拉入艾萨克·海耶斯的计划
49:30 Shaft wasn't just a debut. It was an announcement. ‎《黑街神探》不只是问世 ‎它是一种宣告
49:34 In the same way that movies such as Easy Rider screamed, ‎就像《逍遥骑士》这样的电影 ‎表达的一样
49:37 "This is the '60s," ‎“这是60年代”
49:38 Shaft laid down a count of funk and urban panache that said ‎《黑街神探》 ‎融入了放克和城市的潇洒
49:42 this was the 1970s. ‎表明这就是20世纪70年代
49:44 That a private eye didn't have to look like he slept in his clothes ‎私家侦探不用看起来衣冠不整
49:47 or hid from view. ‎或者隐藏自己
49:49 The newness and audacity of a camera following a Black man ‎崭新和大胆的镜头追随着一个
49:53 in a leather coat through Manhattan. ‎穿着皮大衣在曼哈顿穿梭的黑人
49:55 A private eye, dressed like a combination ‎一个私家侦探穿得像革命者
49:58 of a revolutionary and director Gordon Parks, ‎与导演戈登·帕克斯的组合
50:01 as the sizzle of the hi-hat cranked up the audience. ‎像架子鼓的踩镲一样让观众变得兴奋
50:04 The camera wasn't spying on the star. ‎摄像头没有监视明星
50:07 It was staring at him. ‎而是一直盯着他
50:09 This combination forever altered the course of movies, ‎这个结合永远地改变了电影的轨迹
50:12 right down to coming from a studio ‎直接从长期以来大家都知道的
50:14 that was long known for delivering product about an ideal America ‎制作理想中美国的电影
50:18 that framed straight hair and blue eyes as the standard of beauty. ‎把直发和蓝眼睛作为审美标准的 ‎电影公司转变过来
50:22 Shaft, "sex machine for all the chicks," ain't nobody said that about a brother. ‎夏福特 “所有小妞的性爱机器” ‎之前从来没人这样说过一个黑人
50:29 You all right? ‎你没事吧?
50:31 Baby, are you all right? ‎宝贝 你没事吧?
50:35 I got to feeling like a machine. ‎我感觉自己像一台机器
50:37 That's no way to feel. ‎那种感觉可不太好
50:47 [Mitchell] In 1971, Van Peebles chose to make a movie ‎在1971年 范·皮布尔斯 ‎选择制作一部电影
50:51 about the unremitting terror Black Americans are subject to, ‎讲述美国黑人受到的长期恐惧
50:55 Sweet Sweetback's Baadasssss Song. ‎《斯维特拜克坏蛋之歌》
50:58 The title alone made the movie part of the revolution ‎光是电影的名字就让电影
51:01 that would not be televised. ‎成为了不适合播出的革命的一部分
51:03 In those days, networks would never run such a title ‎在那个年代里 网络永远不会 ‎传播这种片名
51:07 or the incendiary movie that it accompanied. ‎以及叫这个名字的煽动电影
51:11 -[women chuckling] -What is it? ‎这是什么?
51:19 [Mitchell] In the days before porn was unavoidable ‎在色情片无法避免的日子到来之前
51:22 and when Black sexuality was still a punch line, ‎当黑人的性取向还是笑料的时候
51:25 Sweetback showed its nerve by turning Black sex into a show ‎《斯维特拜克坏蛋之歌》通过把 ‎黑人性爱搬上节目
51:28 and refusing to blink or turn away. ‎并且拒绝挪开镜头 展现了它的大胆
51:31 It's a Van Peebles brick-by-brick construction, ‎这是范·皮布尔斯刻意编排的
51:34 a device to make the audience understand what it's like to be objectified. ‎用这个方法让观众明白 ‎被具体化是什么样的
51:42 [Mitchell] Making "badass" a part of the title was such a badass move ‎把“坏蛋”放在电影名字里是 ‎这个举动真的很坏蛋
51:46 that it virtually guaranteed the movie an X rating, ‎它几乎保证了电影被评为X级
51:49 which Sweetback eventually got. ‎《斯维特拜克坏蛋之歌》 ‎后来也是这样
51:51 Melvin Van Peebles used the perks of exploitation ‎梅尔文·范·皮布尔斯利用剥削福利
51:54 and a new liberalism in movie culture to his advantage. ‎和电影文化中的新自由主义 ‎变成自己的优势
51:58 He loved the sheer effrontery of being a Black man ‎他喜欢用满脸胡子、抽雪茄
52:01 with facial hair, smoking a cigar. ‎来表现黑人的放肆大胆
52:04 A pop-culture gesture ‎这是流行文化的态度
52:06 as eternal as Elvis Presley's smirk and Megan Thee Stallion's fingernails. ‎就像埃维斯·普里斯利的傻笑和 ‎美瑾·茜·史戴莉恩的指甲一样永恒
52:10 Sweetback came at a time when the X rating was just invented, ‎《斯维特拜克坏蛋之歌》出现在 ‎电影限制分级刚创造出来的时候
52:14 and porn moved from sleazy downtown theaters ‎色情片从低劣的市中心剧院
52:17 to the suburbs. ‎挪到了郊区
52:18 Midnight Cowboy became the first X-rated film ‎《午夜牛郎》成为了第一部 ‎赢得奥斯卡
52:21 to win the Best Picture Oscar. ‎最佳影片奖的X级电影
52:23 The only one. ‎也是唯一一个
52:24 Stanley Kubrick made Clockwork Orange and got an X. ‎斯坦利·库布里克拍了《发条橙》 ‎并评为了X级
52:28 And Marlon Brando and director Bernardo Bertolucci ‎马龙·白兰度和 ‎伯纳多·贝托卢奇导演
52:32 would be nominated for Oscars for the X-rated Last Tango in Paris. ‎因为X级的《巴黎最后的探戈》 ‎本应获得获奥斯卡提名
52:36 And there was the Black attempt at X-rated social commentary, Lialeh, ‎还有黑人在X级社会评议上的尝试 ‎《利亚莱》
52:41 with a score by funk legend Bernard Purdie. ‎由放克传奇人物伯纳多·坡迪作曲
52:44 Even if the Motion Picture Association offered me a G for the film, ‎就算电影协会 ‎不给我的电影评为X级
52:48 I don't give them the right to, uh to decide G or X, uh, for the Black destiny. ‎我觉得他们也没有权利 ‎给黑人的命运评为X级
52:56 [Mitchell] But Van Peebles inadvertently opened a floodgate by hijacking the X-rating. ‎但范·皮布尔斯无意中 ‎打开了劫持X级的闸门
53:00 It's rumored he self-applied the X-rating ‎有传言说他自己给自己打了X级
53:03 because it was the only symbol not copyrighted by the ratings board, ‎因为这是唯一一个 ‎没有等级评定委员会给版权的标志
53:06 which let everyone know the X was theirs for the taking, ‎因为没有版权 大家都可以用X级
53:10 and the brave new world of the double X and triple X was born. ‎双X级和三X级的 ‎勇敢新世界就诞生了
53:14 After all, you've never heard of a double R or a triple PG-13. ‎毕竟从来没听说过双R或者三PG-13级
53:19 As with Watermelon Man, Sweetback opens with running ‎就像《西瓜男人》一样 ‎《斯维特拜克坏蛋之歌》以奔跑开场
53:23 but not for comic effect in this case. ‎但这里不是为了喜剧效果
53:25 Sweetback is on the run for his life. Movement is what seems to keep him alive, ‎斯维特拜克在为了活命奔跑 ‎行动似乎是让他活着的东西
53:30 as much of the film is about forward motion. ‎这个电影大部分都是向前移动的
53:34 Van Peebles chose musicians not just to supply music. ‎范·皮布尔斯选择了音乐人 ‎不仅仅是为了提供音乐
53:38 He made Earth, Wind & Fire his coconspirators. ‎他让地风火成为了他的合谋者
53:41 He had a secretary who I had a crush on. I think everyone had a crush on Priscilla, his secretary. ‎他有我喜欢的秘书 ‎我想大家都喜欢普里西拉
53:46 She had a Afro like a halo, baby. I'd be like, "God, look at Priscilla." ‎她像有光晕一样留着圆蓬式发型 ‎我会说:“上帝 看看普里西拉”
53:49 "Just-- What's she wearing--" ‎“她穿着…”
53:51 "What's the Priscilla outfit du jour gonna be?" ‎“普里西拉今天会穿什么?”
53:53 But Priscilla had a boyfriend who was a little, you know, possessive. ‎但普里西拉有个男朋友 ‎这个人占有欲有点强
53:57 She wanted to act in the movie, but her boyfriend said, "You can't act in the movie." ‎她想演电影 但她男朋友说: ‎“你不行”
54:00 But he happened to have a new band called Earth, Wind & Fire. ‎但他碰巧有一个叫地火风的新乐队
54:04 So he said, "You can't act with Melvin. However, I wanna do the music." ‎所以他说:“你不能跟梅尔文演戏 ‎但是我想做音乐”
54:10 [Mitchell] And their contribution added to the sweaty paranoia of Sweetback. ‎然后他们的贡献加强了 ‎《斯维特拜克坏蛋之歌》的偏执妄想
54:16 Unlike the sweet and muscular R&B ‎与有力量和旋律的蓝调不同
54:18 we'd later instantly recognize as Earth, Wind & Fire, ‎我们立刻就能识别出地火风
54:22 their Sweetback score is discordant, ribbons of screeching avant-garde jazz ‎他们的《斯维特拜克》歌曲 ‎很不协调 刺耳的前卫爵士乐飘带
54:26 with a pounding layer of percussion underneath. ‎底下有一层重打击乐
54:29 The music exists to make us aware ‎这首音乐的存在是为了让我们意识到
54:31 we're being plunged into a world the movies shied away from. ‎我们掉入了电影所避免的世界
54:36 It combined genres swiftly, ‎这很快结合了不同流派
54:37 with reflexes as keen as those of director Van Peebles. ‎和范·皮布尔斯导演一样的敏锐反应
54:41 Run, Sweetback! ‎快跑 斯维特拜克!
54:44 - Run, motherfucker! -[gospel beat playing] ‎快跑 混蛋!
54:47 They bled your sister! But they won't bleed me! ‎他们把你妹妹杀了! ‎但他们无法杀我!
54:51 Run, Sweetback! ‎快跑 斯维特拜克!
54:53 Run, motherfucker! ‎快跑 混蛋!
54:55 They bled your mama! ‎他们杀了你妈妈!
54:57 They bled your papa But they won't bleed me! ‎他们杀了你爸爸 但他们无法杀我!
55:03 My dad would actually have me talk to people in the lobby. ‎我爸爸会让我跟大厅里的人说话
55:06 He'd say, "What d'you think?" And I'd tell him. He'd say, ‎他会说:“你觉得怎么样?” ‎我就会告诉他 他会说:
55:09 "I'm not interested in what you think. I wanna find out later." ‎“我对你的想法没兴趣 ‎我之后就知道了”
55:11 "Go talk to those folks in the lobby and get an idea of how they saw the movie, ‎“去大厅里跟那些人谈谈 ‎看看他们如何看待这个电影
55:16 how they heard about the movie, and what did they think of the film." ‎他们如何听说这个电影的 ‎还有他们觉得这电影如何”
55:20 [Mitchell] It took an auteur and showman and salesman, such as Melvin, ‎这需要主创导演、演员和推销人员 ‎比如梅尔文
55:23 to understand that by making the composer a creative partner on the project, ‎才能明白 让作曲家 ‎成为项目的创意搭档
55:28 rather than just an employee, ‎而不只是一个员工
55:29 the director was investing in the movie's future. ‎导演是在投资电影的未来
55:32 Melvin saw that future in a way that would eventually start ‎梅尔文看到了那个 ‎最终会在商业电影中
55:35 a new direction in the movie business. ‎开启新方向的未来
55:37 First, he made the story of the selling of the movie, its marketing. ‎首先 他讲了一个故事 ‎电影的销售就靠电影营销
55:42 Otherwise, he'd have a Black movie that would get little or no attention. ‎不然他的黑人电影 ‎就会得不到什么关注
55:46 More importantly, he had the soundtrack released first, ‎更重要的是 他先发布了配乐
55:49 counting on enhanced visibility as a sales tool. ‎指望电影比音乐的可见成为销售工具
55:53 He was an artist-entrepreneur. ‎他是一个艺术企业家
55:55 It didn't matter if it was art if no one saw it. ‎如果是艺术 没人看也没关系
55:59 Gordon Parks changed who the Black movie protagonist could be. ‎戈登·帕克斯改变了 ‎黑人电影的主角会是谁
56:03 Sweetback and Shaft followed Muhammad Ali ‎斯维特拜克和夏福特 ‎追随穆罕默德·阿里
56:06 into an era of Black figures no longer asking for permission to be. ‎进入到一个黑人角色时代 ‎不再需要寻求许可就可以存在
56:11 Their scenes were staged to present them as assertive ‎他们的表演 ‎是为了表现他们的坚定自信
56:14 rather than inviting, ‎而不是诱人
56:16 a chill attitude breaking with lowered-head likability. ‎是一种打破委曲求全的冷静态度
56:20 A flinty and ironic distance that forced the viewer to understand ‎保持着冷漠、讽刺的距离 ‎强迫观众去理解
56:23 rather than have all explained. ‎而不是全部解释清楚
56:27 Listen to what I'm telling you, man. I'm here to help you. ‎听我说 我是来帮你的
56:31 I am an angel of God. ‎我是上帝派来的天使
56:33 [Mitchell] Harry Belafonte brought his silken intensity ‎哈利·贝拉方特为《黑天使》
56:36 back to the big screen for The Angel Levine, ‎把他软化的强度带回了大银幕
56:39 an experimental drama he produced. ‎是他制作的一个实验剧
56:41 Ending his self-imposed exile in this existential comedy ‎在这部存在主义喜剧中结束了他 ‎多年不做电影的选择
56:44 that added a twist to the dilemma posed by Ralph Ellison ‎给拉尔夫‎·‎埃里森写的小说 ‎《隐形人》中的困境
56:47 in his novel Invisible Man. ‎提供了一个新的角度
56:50 "What did I do to be so Black, blue, and heaven-sent?" ‎“我做了什么 ‎才变得如此黑、忧郁、幸运?”
56:54 I am an angel. ‎我是一个天使
56:58 Have you come to take me away? ‎你是来带我走的吗?
57:01 No. ‎不是
57:03 I've come to give you life. ‎我是来给你生命的
57:05 [Mitchell] As a more divine and New Testament parallel, ‎作为更神圣的《圣经》新约 ‎相似的东西
57:08 Sidney Poitier starred as Brother John. ‎西德尼·波蒂埃主演了约翰兄弟
57:11 In this fantasy, Poitier is a modest stranger ‎在这个幻想中 ‎波蒂埃是一个端庄的陌生人
57:14 dropped into a conflict zone, withholding approval and judgment ‎掉入了一个冲突地带 ‎没有许可和判断
57:18 as a taciturn angel of death torn between the past and the present. ‎作为一个沉默的死亡天使 ‎陷入了过去和现在之间
57:22 This well-meaning fable serves to reflect Poitier's own plight. ‎这个善意的寓言是为了 ‎反应波蒂埃自己的困境
57:28 Ossie Davis followed up Cotton Comes to Harlem ‎奥西·戴维斯在《龙虎黑煞星》之后
57:30 with a drama that focused on the tensions of generations of Black women ‎演了一个主要讲述在一个家庭里 ‎几代黑人女性张力的
57:35 in a single household. ‎戏剧
57:36 Dear Lord, if you help me get this house for my mother, ‎亲爱的主 如果你帮我 ‎为我妈妈得到这个房子
57:39 I'll never ask you for anything else, amen. ‎我就不再向你要求任何事了 阿门
57:42 [Mitchell] His young woman protagonist fighting to be heard and for her future, ‎他的年轻女主角为了被人认可 ‎为了她的未来而奋斗
57:46 a subject much closer to landlocked reality ‎和他之前的电影相比
57:49 than his previous film. ‎这个主题无疑更贴近现实
57:51 Writer-director Ousmane Sembène once said that, ‎编剧导演奥斯曼·山本尼曾说过
57:54 "Between the on-screen families in Sounder and Black Girl, ‎“在《声响》和《黑姑娘》中 ‎银幕上的家庭之间
57:58 there was a complete universe." ‎有一个完整的宇宙”
58:00 "That's the kind of film I'd like to make." ‎“那正是我想拍的那种电影”
58:03 And the film universe he saw inspired him to spend much of his career ‎他所看到的电影宇宙鼓舞了他 ‎花了职业生涯的很多时间
58:07 dramatizing the impact on households of absent Black masculinity. ‎戏剧化了对缺乏黑人男子气概 ‎对家庭的影响
58:12 Now, there's a line of reasoning that contends ‎有很多原因主张
58:15 that 1939 was the best year in movie history. ‎1939年是电影史上最棒的一年
58:19 But it is axiomatic that 1939 affirmed America's movie stature ‎但公认的是1939年 ‎确认了美国电影的地位
58:24 as mythmaker for the world. ‎是世界上最佳的电影制作者
58:26 No period that includes Gone with the Wind will ever have that kind of appeal to me. ‎任何时期都不会比《乱世佳人 》 ‎的时期 对我更有吸引力
58:30 The men who ran the studios created a pop culture mythology ‎那些经营电影公司的人创造了 ‎流行文化的神话
58:34 that gave them the chance to run as far as they could from their origins. ‎这让他们有机会尽可能远地逃离原点
58:38 And they could will a hubristic version of America into being, ‎他们可能会创造一个骄傲自信的美国
58:43 an America that never existed ‎是一个美国从未存在过的境界
58:45 but much of this country believes still did. ‎但这个国家的很多人相信依然存在过
58:48 Probably most of the world still does. ‎可能世界上大部分地方依然存在
58:50 1939 let the studios churn out ‎1939年电影厂不顾质量大量出品
58:53 what they considered to be moral and literary ‎他们认为是道德和文学的东西
58:56 and catered to mainstream audiences with whitewashed myths. ‎用粉饰过的神话来迎合主流观众
59:00 I know, Huck. I'm her slave. ‎我知道 哈克 我是她的奴隶
59:02 But sometimes, I can't help wondering if it's right. ‎但有时候 我忍不住去想 这是否公平
59:05 [Mitchell] It's a step past appropriation to cultural colonialism. ‎这是踏过了分化挪用 ‎向文化殖民主义走的一步
59:10 White actors can do a much better job with your culture, Latinx actors, ‎白人可以用你的文化、拉丁演员 ‎做得更好
59:15 Pacific Islanders ‎太平洋岛民…
59:17 -[applause] -Miss Dorothy March, ‎多萝西·马奇小姐
59:19 in her impersonation of Bill Robinson, ‎她扮演哈莱姆国王
59:21 the King of Harlem. ‎比尔·罗宾逊
59:23 [Mitchell] Black people. ‎…黑人
59:25 A body blow meant as a compliment. ‎一种实际上是重击的赞美
59:31 Most importantly, there was a handoff in 1939 ‎最重要的是 在1939年发生了转移
59:34 that cemented the power of a central and debilitating myth ‎巩固了关于社会中黑人地位的
59:37 about the place of Blacks in society. ‎核心削弱神话的力量
59:40 Quittin' time! ‎停工时间到!
59:41 -Who says it's quittin' time? -I said it's quittin' time. ‎-谁说要停工了? ‎-我说了要停工
59:44 I's the foreman. I's the one says when it's quittin' time at Tara. ‎我是工头 我才是 ‎在塔拉说停工时间的人
59:47 -Quittin' time! Quittin' time! -[gentle, dreamy music playing] ‎停工时间!
59:52 [Mitchell] They were both adaptations of books. ‎(《同族人》小托马斯·狄克逊 ‎《乱世佳人》玛格丽特·米切尔)
59:54 The number-one grossing film of all time until 1925 ‎1925年以前最卖座的电影
59:58 was D.W. Griffith's The Birth of a Nation. ‎是D.W. 格里菲斯的 ‎《一个国家的诞生》
1:00:01 An even bigger hit was 1939's Gone with the Wind, ‎更热卖的是1939年的《乱世佳人》
1:00:04 which remained the biggest box-office sensation until 1965 ‎在1965年前一直保持着最高的票房
1:00:09 and became champ again in 1971. ‎在1971年又再次位居榜首
1:00:12 1972 should have been the year for Rupert Crosse's career to flower. ‎1972年本该成为鲁珀特·克罗斯 ‎事业绽放的一年
1:00:16 His fans Jack Nicholson, Robert Towne, and director Hal Ashby ‎他的粉丝杰克·尼科尔森 ‎罗伯特·汤和哈尔·阿什比导演
1:00:20 created a role for Crosse in the adaptation of The Last Detail. ‎在《最后的细节》改编中 ‎为克罗斯创建了一个角色
1:00:24 But Crosse was diagnosed with leukemia before shooting began. ‎但克罗斯在开拍前 ‎被诊断出患了白血病
1:00:28 Filming was delayed in hopes he'd be able to participate, ‎因为希望他能参加 拍摄被推迟了
1:00:31 but Crosse died before filming started. ‎但克罗斯在开拍前去世了
1:00:35 In an Esquire magazine article, ‎在《时尚先生》杂志的一篇文章里
1:00:37 Ashby reflected on Crosse's humor and grace in the face of mortality. ‎导演阿什比表达了 ‎克罗斯在面对死亡时的幽默与优雅
1:00:42 The phrase "corrosive lyricism" was coined ‎“讽刺诗”这个短语被创造出来
1:00:44 to summarize Ashby's style and inspired by Crosse's outlook. ‎来总结阿什比的风格 ‎是受到克罗斯人生观的鼓舞
1:01:01 Isaac Hayes used his performance at the 1972 Oscars, ‎艾萨克·海斯在1972年奥斯卡上 ‎成为了第一个黑人最佳歌手
1:01:05 when he became the first Black Best Song winner, ‎在颁奖典礼上 他用自己的表演
1:01:09 to show his Hot Buttered Soul grandeur to the entire planet. ‎向整个地球展示了他那张专辑 ‎《热黄油灵魂》的壮丽
1:01:12 For me, watching at home, and thrilled ‎对我来说 在家看着
1:01:15 by watching Hayes turn slave chains into superstar chain mail, ‎海斯把奴隶锁链 ‎变成超级巨星锁甲 我感到很激动
1:01:19 it felt like a comet crashing into the Earth, ‎感觉就像是彗星坠入地球
1:01:22 an alteration of the atmosphere, ‎大气层发生改变
1:01:24 letting us know things would never be the same. ‎让我们知道这一刻发生了永久的改变
1:01:29 It was a dizzying, thrilling mix ‎这是一种令人眼花缭乱的混音
1:01:31 that introduced an element that made Black film culture more attractive ‎引入了一种元素 让黑人电影文化
1:01:35 than films from the so-called mainstream. ‎比所谓的主流电影吸引人
1:01:38 That element was heroism. ‎那个元素就是英雄主义
1:01:40 Now, cockroach, let's run that shit down from the top again. ‎现在 蟑螂 我们从头再来一次
1:01:44 [Mitchell] Unlike their white counterparts, ‎与白人同僚不同
1:01:46 who wore their misery like runway accessories, ‎白人的痛苦是矫揉造作
1:01:48 Black actors played these antiheroes with a confidence that bordered on heroism ‎黑人演员用接近英雄主义的自信 ‎来演这些非英雄角色
1:01:52 and then crossed that border. ‎然后比英雄演得更好
1:01:54 You gonna drop back in. Yeah. ‎你要回去了
1:01:56 'Cause you didn't do nothin' but talk that brotherhood love and peace. ‎因为你什么都卖座 ‎只是对兄弟友好平和地讲话
1:02:00 You didn't change nothin', which means work ‎你什么都没改变 这意味着努力
1:02:02 and making that talk, talk, talk happen. But we can't drop into nothin' ‎让那些话语实现 ‎但我们不能也什么都不做
1:02:06 'cause we never had nothin' to drop out of. ‎因为反正我们也从来没有参与过
1:02:08 [Mitchell] In the wake of Shaft, there were bronze remakes of films noir. ‎在《黑街神探》之后出现了 ‎黑色电影的劣质重拍
1:02:13 Hit Man, a new take on Get Carter. ‎《杀手》是《找到卡特》的翻拍
1:02:15 You are a real superstar, baby. ‎你真是个超级巨星 宝贝
1:02:18 [Mitchell] And Cool Breeze, yet another remake of The Asphalt Jungle ‎还有《凉风》 ‎也是《夜阑人未静》的翻拍
1:02:21 that made that term more literal ‎翻拍版本更贴近原标题的字面意思
1:02:23 than the nouvelle vague could ever have dreamed possible. ‎比新潮所能想象到的更贴近
1:02:27 In these films, protagonists stepped into the frame ‎在这些电影中 主角们走进画面
1:02:30 with a swagger that'd never been allowed in films above the lower depths. ‎带着之前社会低级人物 ‎不被允许在电影里展现的自信
1:02:36 I hate to say this, ‎我不想这么说
1:02:38 but I am such a pretty motherfucker. ‎但我是个漂亮的人
1:02:45 Yeah! ‎对!
1:02:46 [Mitchell] This peak year in Black film moved so many boundaries ‎这一年是黑人电影的高峰 ‎跨越了许多边界
1:02:49 that movies were changed forever. ‎电影也因此被永远地改变了
1:02:52 For the first time, two Black women were nominated for Best Actress. ‎有史以来第一次有两名黑人女性 ‎获得最佳女主角提名
1:02:55 Diana Ross for her first leading role ‎戴安娜·罗斯第一次做主角
1:02:58 and the divine Cicely Tyson for Sounder ‎还有《儿子离家时》中 ‎神圣的西塞莉·泰森
1:03:01 Cropping season is a long way off, Mr. Perkins. ‎种植季节还早着呢 珀金先生
1:03:04 By that time, Nathan ought to be home. ‎到那时 内森应该已经回家了
1:03:07 If he ain't, believe me, the children and me will do the croppin'. ‎如果他没回来 相信我 ‎我和孩子们会去收割
1:03:10 I never got the the chance to meet Miss Cicely Tyson. ‎我一直没机会见到西塞莉·泰森小姐
1:03:14 She always reminded me of my grandmother. ‎她总是让我想起我的祖母
1:03:16 She just kind of personified this this elegance and this regal air of-- ‎她就是那种优雅和帝王气质的化身…
1:03:22 Just the way she moved and spoke. ‎就是她的动作和说话方式
1:03:25 No. ‎不是
1:03:26 I'm fixin' to bake a cake for David Lee to take to your daddy this time. ‎这次我准备给大卫·李烤个蛋糕 ‎带去给你爸爸
1:03:30 Good to see Cicely. 'Cause I grew up watching Cicely Tyson. ‎见到西塞莉真好 因为我是 ‎看着西塞莉·泰森影片长大的
1:03:34 It was good to see us. ‎很高兴见到我们黑人
1:03:37 These movies were about us. ‎这些电影是关于我们的
1:03:41 Son, don't get too used to this place, ‎儿子 别太习惯这个地方
1:03:44 'cause wherever you is, I'm gonna love you. ‎因为无论你在哪儿 我都会爱你
1:03:47 [Mitchell] which also got a Best Actor nomination for her costar, Paul Winfield. ‎…电影中 她的搭档保罗·温菲尔德 ‎也获得了最佳男主角提名
1:03:51 I didn't find myself, as a child, attracted to movies where we were victims, ‎我小时候 并没有认为 ‎那些我们是受害者
1:03:57 where we were powerless. I didn't want that as a kid. ‎我们无能为力的电影吸引人 ‎我小时候可不想看那些
1:04:00 I saw Sounder again recently, and I appreciate it much more as an adult. ‎最近我又看了《当儿子离家时》 ‎作为一个成年人 我更加欣赏它
1:04:04 I saw layers in it that I just didn't see as a kid. ‎我看到了我小时候没有看到的层次
1:04:08 [Mitchell] And Diana Ross was nominated for Best Actress ‎戴安娜·罗斯凭借她在第一部‎电影
1:04:11 for her first leading role, in the first film about Billie Holiday, ‎摩城出品的讲述比莉·哈乐黛的电影 ‎《蓝调名伶》中
1:04:15 the Motown-produced Lady Sings the Blues. ‎首次主演获得最佳女主角提名
1:04:26 It wasn't a movie, as so many are, about being Black. ‎这部电影不像很多电影那样 ‎讲述作为黑人的故事
1:04:32 It was about being talented. ‎它讲述的是作为天才的故事
1:04:34 It was Bob Mackie costumes [chuckles] and Diana Ross's glamour ‎是鲍勃·麦基的服装 ‎还有戴安娜·罗斯的魅力
1:04:38 and Billy Dee Williams, well, hell, you know. [chuckles] ‎还有比利·迪·威廉姆斯 对 你懂的
1:04:46 [De Passe] Frank Yablans was running Paramount. ‎弗兰克·亚布兰斯 ‎当时是派拉蒙的掌门人
1:04:48 He told Berry Gordy, after seeing a rough cut of the film, ‎他在看过电影的粗略剪辑后 ‎告诉贝瑞·戈迪
1:04:52 that they weren't gonna put any more money in it. ‎他们不会再往里面投钱了
1:04:54 And Berry Gordy said to Frank, ‎贝瑞·戈迪对弗兰克说
1:04:57 "We're not finished. We've got so much more to do." ‎“我们还没完成 ‎我们有更多的事要做”
1:05:00 And Frank said ‎然后弗兰克说…
1:05:01 I won't go into the story [chuckling] of what Frank really said, ‎我就不细讲弗兰克具体说了什么
1:05:05 but he basically said it's like you've got the clap, and now you wanna give it to me. ‎但他基本上是说 就像你得了淋病 ‎现在你想把它传染给我
1:05:09 Because we've never spent more than this amount of money ‎因为我们从来没有在一部
1:05:12 on a quote-unquote Black film before. ‎所谓的“黑人电影”上花过这么多钱
1:05:14 And he said, "Well, Frank, what can I do?" ‎他说:“弗兰克 我能做什么?”
1:05:16 He said, "Write me a check for $2 million, and you can do anything you wanna do." ‎他说:"给我写一张200万美元的支票 ‎然后你想做什么就做什么"
1:05:21 And he did. ‎他就这样做了
1:05:23 [Mitchell] Lady Sings the Blues was an early, all-out glam show, ‎《蓝调名伶》是一场早期 ‎全力以赴的华丽演出
1:05:26 a gleaming establishment of Black glamour in the movies. ‎是电影中 ‎黑人魅力熠熠生辉形象的确立
1:05:30 When I think of Diana Ross, I also think of fashion ‎当我想起戴安娜·罗斯 ‎我也会想到时尚
1:05:33 and how many references I've used of her ‎想到我在红毯活动、摄影
1:05:36 for red carpet events or for photo shoots ‎或者我塑造的这些不同角色中
1:05:38 or for these different characters that I guess I build. ‎有多少灵感来自于她
1:05:42 The fingers and the hair and the whole thing ‎手指、头发、所有的一切
1:05:46 is just like, "Oh my God!" ‎一切都那么不可思议
1:05:48 And then she can act. ‎然后她还会演戏
1:05:51 [Mitchell] Not just for Ross but her costar, ‎不仅是罗斯 还有她的搭档
1:05:54 a literal embodiment of tall, dark, and handsome, ‎又高又黑又帅的真实化身
1:05:58 Billy Dee Williams. ‎比利·迪·威廉姆斯
1:06:01 When Billy Dee Williams came on, every woman in Hollywood just hollered ‎当比利·迪·威廉姆斯出场时 ‎好莱坞的每个女人都在欢呼…
1:06:07 And I'm I'm saying, "Oh my God!" ‎我还说:“我的天啊!”
1:06:09 "What what the" [laughing] "What's goin' on?!" ‎“什么… 怎么回事?”
1:06:16 First of all, when I walked down those stairs, I fell in love with myself. ‎首先 当我走下楼梯的时候 ‎我感觉爱上了自己
1:06:21 I said, "My goodness gracious!" ‎我说:“我的老天爷啊!”
1:06:24 I mean, I was smitten. ‎我被迷住了
1:06:27 [man] Do you want my arm to fall off? ‎你想让我的胳膊掉下来吗?
1:06:30 [Williams] Even that scene, you know, "Do you want my arm to fall off?" ‎即使是那个场景 ‎“你想让我的胳膊掉下来吗?”
1:06:33 I mean, couldn't contain myself. ‎我都无法控制自己
1:06:35 I kept laughing because I was getting special lighting. ‎我一直在笑 ‎因为我得到了特殊的光照
1:06:38 You know, it was like the old movie days. ‎就像以前的电影一样
1:06:43 I was in hysterics. ‎我已经歇斯底里了
1:06:45 I had to contain myself. [laughing] ‎我只能克制自己
1:06:48 Oh, it was it was very funny for me because it was like something ‎这对我来说非常好笑 因为这种事
1:06:52 that never happened to me before, ‎在我做电影的所有经历中
1:06:54 you know, in all of the experiences I had doing cinema. ‎从未发生过
1:06:59 [Mitchell] '72 was a breakthrough year for Black talent. ‎1972年是黑人天才的突破之年
1:07:02 Playwright Lonne Elder III was nominated for the Sounder screenplay, ‎剧作家洛内·埃尔德三世因为 ‎《当儿子离家时》的剧本获得提名
1:07:06 and more importantly, it was the year ‎更重要的是 那年
1:07:08 that the first Black woman was nominated for screenwriting, ‎第一位黑人女性获得了编剧提名
1:07:11 Suzanne De Passe, part of the script team for Lady Sings the Blues. ‎苏珊娜·迪·帕斯是 ‎《蓝调名伶》剧本团队的一员
1:07:15 It was a singular achievement until Dee Rees was nominated in 2017 ‎这是个非凡‎异常‎的成就 ‎直到2017年 迪·里斯
1:07:20 for her script for Mudbound, which makes her ‎凭借《泥土之界》的剧本 ‎获得提名
1:07:22 only the second Black woman to be nominated for screenwriting. ‎这让她成为第二位 ‎获得编剧提名的黑人女性
1:07:26 [De Passe] Mr. Gordy handed me the script. And he said, ‎戈迪先生把剧本递给我 他说
1:07:30 "Read this and tell me what you think." ‎“读一读 然后告诉我你的想法”
1:07:33 And I was, like, horrified ‎我当时吓坏了
1:07:35 because I felt it was very stereotypical. ‎因为我觉得这很老套
1:07:39 The perception of who we are ‎这是对我们是谁的认知
1:07:42 as opposed to who we are and can be. ‎而不是我们是谁、我们可以成为谁
1:07:46 And so I began working with Sidney Furie. Then Chris Clark was added. ‎于是我开始和西德尼·富里合作 ‎然后克里斯·克拉克加入了
1:07:50 She was an artist on the label, really bright woman. ‎她之前是厂牌的艺人 ‎非常有活力的女人
1:07:53 She and I became a team. ‎她和我成了一个团队
1:07:54 [Mitchell] The seeds are planted here ‎在这里播下了种子
1:07:56 for what becomes the most important story of the era. ‎将成为那个时代最重要的故事
1:07:59 It's the contribution by women that becomes dominant. ‎女性的贡献占据了主导地位
1:08:04 In addition to the accolades, the class of '72 was also action-packed. ‎除了荣誉之外 ‎1972年的片子也很让人激动
1:08:11 The Western, Buck and the Preacher, directed by Sidney Poitier ‎由西德尼·波蒂埃执导的 ‎西部片《布克与牧师》
1:08:16 and also starring him and Harry Belafonte. ‎也是由他和哈利·贝拉方特主演的
1:08:20 Belafonte had hopes for the film that were never fulfilled. ‎贝拉方特对这部电影的有些希望 ‎始终未能实现
1:08:23 [Belafonte] The big blow was to find that the Black community didn't support it. ‎最让人失望的是发现黑人社区不支持
1:08:27 That sent me into a place where I felt betrayed. ‎这让我陷入了感觉被背叛的境地
1:08:32 I felt like, "Why didn't the Black community support this film ‎我觉得:“为什么黑人社区 ‎不像白人支持
1:08:36 the way the whites would've supported Butch Cassidy and the Sundance Kid?" ‎《虎豹小霸王》那样 ‎支持这部电影?”
1:08:41 "This is our version of the same thing." But they didn't. ‎“这是我们版本的那部电影” ‎但他们没有支持
1:08:44 And, uh, then I knew I had several adversaries, ‎然后我知道我有几个敌人
1:08:48 Black perception of itself ‎黑人自己眼中的黑人形象
1:08:50 and Black perception as the world saw us. ‎和世界眼中的黑人形象
1:08:55 [Mitchell] Fred Williamson starred in the revenge-slave Western ‎弗雷德·威廉姆森主演了 ‎一部讲述奴隶复仇的西部片
1:08:58 The Legend of Nigger Charley, ‎《黑鬼查理传奇》
1:09:00 a title that was cheeky and outrageous even then. ‎即使在那个时候 ‎这个标题也很厚颜无耻
1:09:04 And by the way, the title no longer exists. ‎顺便说一句 标题已经不存在了
1:09:07 The movie is now The Legend of Black Charley. ‎这部电影现在是《黑人查理传奇》
1:09:10 This brazen poster, ‎这张厚颜无耻的海报
1:09:11 featuring a slight turn on the daguerreotype, said it all. ‎在银版照相法上稍微改一下 ‎就说明了一切
1:09:15 "Somebody warn the West. Nigger Charley ain't running no more." ‎“有人警告西部 黑鬼查理不再跑了”
1:09:21 Black was also finally added to the horror film in a serious way, ‎黑人终于以严肃的方式 ‎加入了恐怖电影里
1:09:25 with a commanding William Marshall starring as the tragic vampire Blacula. ‎由威风凛凛的威廉·马歇尔 ‎饰演悲剧吸血鬼布莱库拉
1:09:30 Slavery has merit, I believe. ‎我相信奴隶制是有好处的
1:09:33 "Merit"? ‎“好处”?
1:09:35 You find "merit" in barbarity? ‎你在野蛮中找到“好处”了吗?
1:09:39 [Mitchell] I'd always thought that the good thing about the institutional racism ‎我一直认为制度性种族主义的好处
1:09:43 that kept Black people from being central figures in horror films was, ‎让黑人无法成为恐怖片的主角
1:09:46 for African Americans, the implicit understanding ‎是对非裔美国人来说 含蓄理解
1:09:49 that no supernatural force or threat of possession ‎没有什么超自然的力量 ‎或者恶魔附身的威胁
1:09:53 could be more monstrous than slavery ‎会比奴隶制
1:09:55 or the Tuskegee Experiment, ‎或者塔斯基吉实验
1:09:57 or Emmett Till, a real-life Black innocent, ‎或者艾米特·提尔更可怕 ‎他是现实生活中无辜的黑人
1:10:01 who was the victim of monsters even the movies were afraid of, ‎迫害他的那些禽兽 ‎如果没有电影的美化
1:10:05 when they weren't glamorizing them. ‎电影都不敢拍
1:10:09 With the Black press forcing the mainstream media ‎黑人媒体逼迫主流媒体
1:10:11 to cover Emmett Till's death with an unblinking gaze ‎不间断报道艾米特·提尔的死
1:10:14 and movies stepping up to recount Black horrors ‎电影也开始叙述黑人恐怖
1:10:17 such as slavery and institutional cruelty, ‎比如奴隶制和制度的残忍
1:10:20 a film take on the chaos caused by the death of Emmett Till ‎一部讲述艾米特·提尔之死 ‎造成混乱的电影
1:10:24 was the moment Black audiences were waiting for. ‎是黑人观众所等待的时刻
1:10:27 That it never happened was a subtle hint of where the real power was in Hollywood. ‎但它从来没有发生过 ‎也就暗示了好莱坞真正权力所在
1:10:35 [Burnett] I remember the thing that woke me up, really woke me up, ‎我记得那个真正让我清醒 ‎真正震撼我的事情
1:10:37 was the Emmett Till picture on the Jet magazine. ‎是艾米特·提尔在 ‎《杰特》杂志上的照片
1:10:40 I mean, talking about someone, grew up, the next day, a different person. ‎我在第二天就完全成长了 ‎变了一个人似的
1:10:46 I still have the images I saw in Jet magazine about Emmett Till. ‎我还留着在《杰特》杂志上 ‎看到的艾米特·提尔的照片
1:10:49 From that day on, I was aware of what his mother must have felt like. ‎从那天起 我就理解他妈妈的感受了
1:10:56 [Fargas] I remember as a kid, ‎我记得小时候
1:10:57 looking at Jet magazine and seeing Emmett Till's body, ‎看《杰特》 杂志 ‎看到了艾米特·提尔
1:11:01 and that impacted me. ‎那震撼到了我
1:11:04 In some ways, we've been worn down to where we see pain and misery, ‎在某种程度 我们已经对 ‎痛苦和苦难习以为常了
1:11:07 and it does nothing, ‎已经不会造成伤害
1:11:10 and it does nothing to us, ‎不会伤害到我们了
1:11:12 or it's onto the next one because we know it's gonna happen again. ‎否则我们就会开始寻找下一个被害 ‎因为我们知道这会再次发生
1:11:16 But it's getting more personal. It's getting closer and closer to ‎但这越来越针对个人了 越来越接近…
1:11:21 to just humanity, man's inhumanity to man. ‎人性 人类对人类的不人道
1:11:26 [Mitchell] That ongoing terror was beautifully defined ‎持续的恐怖随着马文·盖伊的 ‎《怎么了》的发表
1:11:29 with the release of Marvin Gaye's What's Going On. ‎被美丽的定义了
1:11:32 He was the first to sing social protest as a seducer ‎他是第一个以诱惑者的身份 ‎而不是演说式的
1:11:36 rather than being declamatory. ‎唱出社会抗议的人
1:11:37 And Gaye released another epical album in '72. ‎盖伊在72年又发行了一张专辑
1:11:41 This time a soundtrack ‎这次的音乐
1:11:43 that gave him the opportunity to return to his jazz roots. ‎让他有机会回归了爵士乐的出身
1:11:46 -["Trouble Man" by Marvin Gaye playing] -♪ I come up hard, but now I'm cool I didn't make it, baby Playin' by the rules ‎(《检修员》1972年 ‎导演:伊万·迪克森)
1:11:55 [Mitchell] Black film soundtracks had so often taken their cues from What's Going On, ‎黑人电影配乐经常 ‎受《怎么了》的影响
1:12:00 one of the most gorgeous and honestly revolutionary acts of Black pop culture, ‎这是黑人流行文化中最华丽 ‎最真诚的革命行为之一
1:12:05 so it made sense for Marvin Gaye to do the same. ‎所以马文·盖伊也如此是很合理的
1:12:08 He submitted the state of African-American affairs ‎他表示了非裔美国人的状况
1:12:11 and picked up his musical autobiography with his Trouble Man score ‎以《检修员》配乐 ‎选择了他的音乐自传
1:12:15 where he left off at What's Going On. ‎不再使用《怎么了》
1:12:21 And the movie music that would follow in its wake ‎随后的电影音乐
1:12:24 continued to assess the collateral damage of oppression ‎继续评估压迫的间接危害
1:12:27 that he spelled out earlier. ‎那是他早期就提到的
1:12:34 [Mitchell] But ironically, the most sublime of these scores ‎但讽刺的是 这些配乐中分数最高的
1:12:37 came from an artist whose influence was evident ‎来源于一个明显对马文·盖伊
1:12:40 on Marvin Gaye's break from old-time pop-soul. ‎打破旧时代音乐影响很大的艺术家
1:12:43 It, too, included a honeyed falsetto ‎它也包括一个黑人高音
1:12:45 rendering the struggle of Black American life. ‎叙述了美国黑人挣扎的人生
1:12:48 Ain't I clean? Bad machine Super cool, super mean ‎我不干净吗?坏机器 《超飞》 超级坏
1:12:52 Dealin' good for the Man Super fly, here I stand ‎卖毒品 这人很酷 我站在这
1:12:55 Secret stash ‎秘密据点…
1:12:57 [Mitchell] Curtis Mayfield's lyric summaries of social conditions ‎柯蒂斯‎·‎梅菲尔德的歌词 ‎总结了社会状态
1:13:00 and a militant refusal to surrender to institutional inertia ‎激进地拒绝向制度让步
1:13:04 can be heard throughout his entire solo career. ‎可以在他的整个独唱生涯中听到
1:13:07 Mayfield's musical output for this decade spanned 20 albums, ‎梅菲尔德这十年的音乐作品 ‎有20张专辑
1:13:11 among them five soundtracks. ‎其中有五个电影配乐
1:13:14 His sinewy intimacy and piercing songwriting ‎他敏锐的亲密感 ‎和有穿透力的歌曲创作
1:13:17 set the tone in Black film from then on, ‎从此奠定了黑人电影的基调
1:13:20 starting with Super Fly, as an example for many of his fellow musicians. ‎由《超飞》开始 ‎是他的很多同行音乐家的范例
1:13:25 And Mayfield took his lead from Melvin Van Peebles ‎梅菲尔德接受了 ‎梅尔文·范·皮布尔斯的带领
1:13:28 with the unusual tactic of releasing the Super Fly score ‎用不寻常的策略 在电影出来之前
1:13:31 before the movie came out. ‎发布《超飞》的配乐
1:13:33 Because it was an immediate sensation, ‎因为立刻引起了轰动
1:13:36 the Super Fly soundtrack served as an invitation to the movie. ‎《超飞》配乐吸引了人们去看电影
1:13:40 John Calley, who ran Warner Bros. in the 1970s, ‎约翰‎·‎凯利 ‎20世纪70年代经营华纳兄弟的人
1:13:44 told me he thought Super Fly started a trend, ‎告诉我他认为《超飞》 ‎引领了一个潮流
1:13:47 using the soundtracks to create excitement about the movies ‎用配乐来在戏院放映前
1:13:50 prior to theatrical release. ‎(音乐由柯蒂斯·梅菲尔德所写)
1:13:53 The textures of Mayfield's score, ‎梅菲尔德配乐的质感
1:13:55 dramatizing and commenting on the life of the protagonist, ‎戏剧化地评论了主角的生活
1:13:58 was reflected in the down and dirty accomplishment ‎表现在了放映技师 ‎詹姆斯·西尼奥雷利的
1:14:01 of cinematographer James Signorelli. ‎质朴的成就中
1:14:03 One of the best foot-chase scenes in movies, with no stuntmen, ‎电影里最好的徒步追踪的场景之一 ‎没有特技演员
1:14:07 was caught in the film's guerilla shooting style by Signorelli. ‎被西尼奥雷利展现在了 ‎电影的游击拍摄风格中
1:14:10 [Signorelli] He had to have a route of escape. Jimmy was the guy he was chasing. ‎他必须有逃跑路线 ‎吉米是他在追的人
1:14:20 We were standing around, and Ron said, "I can jump that fence." ‎我们当时站着 罗恩说: ‎“我可以跳过围栏”
1:14:26 And that was all there was to it. That was all the rehearsal. ‎就是这样 那就是彩排
1:14:29 It certainly wasn't more than one take, I'll tell you that. ‎我会告诉你 当然不止一次
1:14:31 It was definitely a combination of the two aesthetics. ‎这绝对是两种美感的结合
1:14:35 One was the documentary photography that people had been doing, ‎一个是人们一直在拍的纪录片
1:14:38 particularly Leacock, Pennebaker, you know, Maysles, all those guys, ‎尤其是里考克、潘纳贝克、 ‎梅斯尔所有这些人
1:14:42 myself included, you know, Bob Elfstrom. ‎包括我自己 你知道 鲍勃·艾弗斯托
1:14:44 The stuff that we were all doing was bleeding into the technique ‎我们所做的都是在拍摄故事片的
1:14:48 of shooting feature films, ‎技术中传播
1:14:49 particularly where the environment was a third party. ‎尤其是在电影之外的真实世界里
1:14:53 [Mitchell] Signorelli's improvisational approach was applied ‎西尼奥雷利的即兴创作方法用在了
1:14:56 to other kinds of action in Super Fly, ‎《超飞》的其他动作中
1:14:58 such as the scene with Sheila Frazier and star Ron O'Neal ‎比如希拉·弗雷泽和明星 ‎罗恩·奥尼尔的场景中
1:15:02 that was frank and passionate about Black love. ‎那是对黑人爱情的坦率和热情
1:15:05 I can feel from you what it's like out there. ‎我能从你身上感受到外面的样子
1:15:09 I see what it does to you, ‎我知道它对你有什么影响
1:15:10 and I know I know how dope helps hold your head together. ‎我知道大麻如何帮你保持清醒
1:15:15 I don't want your privacy, baby. ‎我不想插手你的私人生活 宝贝
1:15:18 All I wanna do is help you share the weight. ‎我只想帮你分担重量
1:15:20 -[sensual funk music playing] -[Frazier] I said, "Once the suds go away, ‎我说:“一旦泡沫消失
1:15:24 we have to stop it and refill the suds because I don't wanna be seen." ‎我们就必须停止然后重填泡沫 ‎因为我不想被看见”
1:15:28 I don't know what I was thinking about. It was pretty hard not to be seen. ‎我不知道自己当时在想什么 ‎很难不被看到
1:15:33 I would not know that at the premiere of that movie ‎我不会知道在电影的首映礼上
1:15:37 that they put that scene in slow motion. ‎他们把那个场景做了慢放
1:15:40 [Signorelli] And I believe at one point, Judith Crist said, ‎我相信有一次朱迪丝·克里斯特说
1:15:43 "It was the most tasteful and erotic scene in cinema history." ‎“那是电影史上 ‎最有品位和色情的场景”
1:15:48 [Frazier] Richard Roundtree was the one who helped me get the audition. ‎是理查德·朗德垂帮我拿到试镜的
1:15:52 Richard said, "You've gotta walk in like it's yours." ‎理查德说: “你得像 ‎你已经拿到这个角色一样进去”
1:15:57 I said, "Okay, all right." ‎我说:“好吧”
1:15:58 So I walked in, and I put my feet up on the desk, ‎所以我走进去了 把脚放在桌子上
1:16:02 on Sig Shore's desk, and I said, "You know what, ‎在西格·肖尔的桌子上 ‎我说:“你知道的
1:16:04 you don't have to see another person because the film is mine." ‎你不用再试其他人了 ‎因为这个角色已经是我的了”
1:16:08 Gordon said, "You've got this!" ‎戈登说:“是你的了!”
1:16:10 Well, after Gordon told me I had it, and I was so ecstatic, ‎在戈登告诉我得到这个角色之后 ‎我很兴奋
1:16:14 then he had to call me and apologize and say, ‎然后他给我打电话道歉说:
1:16:16 "I'm so sorry, but Sig Shore wanted a different look." ‎“我很抱歉 但西格·肖尔想再看看”
1:16:20 "He wanted a very voluptuous woman." ‎“他想要一个非常性感的女人”
1:16:22 It was so devastating, I just changed all-- ‎太打击人了 我刚换了所有…
1:16:26 I had two telephones. I changed both both numbers, ‎我有两个电话 我都换了号码
1:16:29 so I would never have to speak to anybody again. ‎所以我不能再和任何人打电话了
1:16:33 About three months later, this guy walks up to me, you know, and he's like, ‎大概三个月后 ‎这家伙走到我面前说
1:16:37 "I'm a producer." I'm like, "Good for you." ‎“我是制作人” 我说:“真不错”
1:16:40 So he says, "Well, what's your name?" ‎所以他说:“你叫什么?” ‎所以我给了他我的名字
1:16:41 So I gave him my name. He says, "Oh my God!" ‎所以他说:“你叫什么?” ‎所以我给了他我的名字 ‎他说:“天啊!”
1:16:44 "We've been trying to find you for three months." ‎“三个月来我们一直在找你”
1:16:47 "We've been trying to find you." I'm saying, "Who's 'we'?" ‎“我们一直在找你” ‎我说:“你们是谁?”
1:16:50 So he says, "Well, I'm a producer on a movie called Super Fly." I said, "Eh-eh." ‎所以他说:“我是电影 ‎《超飞》的制作人” 我说…
1:16:55 And as soon as I got home, the phone was ringing off the hook. ‎我一回到家电话就响了
1:16:58 [Mitchell] The result, John Calley told me, was that Super Fly, ‎约翰‎·‎凯利告诉我 ‎结果是《超飞》
1:17:02 an independently made project that Warner Bros. bought for $150,000, ‎华纳兄弟花15万美元买的 ‎一个独立制作的项目
1:17:06 a pittance by even 1972 standards, ‎即便是根据1972年的标准
1:17:09 went on to gross around $30 million. ‎毛收入大概是三千万美金
1:17:13 [Ron O'Neal] Super Fly has played to an awful lot of white people. ‎《超飞》已经给很多白人放过了
1:17:15 It's the only way you can do 19, 20 million dollars. ‎这是你赚1900万、2000万美元的 ‎唯一办法
1:17:18 We've been in Boston 17 weeks. ‎我们在波士顿待了17周
1:17:20 We ran out of Black people in three weeks [chuckling] in Boston, you know? ‎我们在波士顿的三周 ‎黑人观众就都看过了 你知道吗?
1:17:25 [male reporter] Super Fly, slang for cocaine among users, ‎《超飞》是吸毒者 ‎对可卡因的俚语称呼
1:17:28 is the story of a Black New York City narcotics dealer. ‎是黑人、纽约城毒品经销商的故事
1:17:31 Strong objections to the film were raised today by R.L. Livingston ‎沃思堡更好影响协会的 ‎R.L.·利文斯顿今天对这部电影
1:17:35 of the Better Influence Association in Fort Worth. ‎提出了强烈的反对
1:17:38 I don't know what this council can do, but I'm bringing it to your attention ‎我不知道这个委员会能做什么 ‎但我要把这件事提出来引起你们注意
1:17:42 because you are the city council of Fort Worth, ‎因为你们是沃思堡市议会
1:17:44 and you represent the problem-solving division here, ‎你们代表着解决问题的部门
1:17:47 and I hope that we can do this thing here without the citizens going up on their own ‎我希望我们能在这里做这件事 ‎而不需要市民们自己来
1:17:51 to boycott such trash and filth in our community. ‎抵制社区里的这种垃圾
1:17:55 How do you see your role in Super Fly, as a positive force or a negative one? ‎你如何看待你在《超飞》中的 ‎角色 是正面的力量还是反面的?
1:18:01 Obviously, I consider it a positive one, or I never would have done the film. ‎显然我认为这是正面的 ‎否则我不会去演这个电影
1:18:05 When we made Super Fly, ‎当我们拍《超飞》的时候
1:18:06 we made it about the way things actually are, ‎我是按真实的方式拍的
1:18:11 and we hoped it would be judged and criticized on that basis. ‎我们希望它在此基础上被评判
1:18:15 Uh, but my from my observation, you know, ‎但根据我的观察 你知道
1:18:19 Super Fly has been largely criticized from some ‎《超飞》已经被一些人大肆批评了…
1:18:23 some, you know, some sphere, ‎一些 你知道 一些球体
1:18:25 some some plane, some plateau, you know, that has no bearing on the film. ‎一些平面、一些高原 ‎和电影无关的东西
1:18:30 [Bobby Seale] They use the Black community to make the movies in the first place. ‎他们首先利用黑人社区来制作电影
1:18:33 Uh, we're tired of these white producers coming in and making Black movies ‎我们受够了这些白人制作人 ‎来制作黑人电影
1:18:36 and then, in turn, are exploiting the Black community. ‎然后反过来再剥削黑人社区
1:18:39 Also, the Black extras who live in Oakland and Berkeley and around the area ‎还有住在奥克兰和伯克利 ‎以及附近的黑人
1:18:43 are only getting $10 a day. They should be getting $50 a day. ‎每天只能拿10美元 ‎他们一天应该拿50美元
1:18:48 I think all the artists, since I know them personally, ‎我觉得所有的艺术家 ‎因为我私下认识他们
1:18:52 uh, you know, are responsible people ‎你知道 是负责的人
1:18:55 who are concerned about what is happening in the Black communities. ‎会担心黑人社区发生了什么
1:18:59 We are, of course, uh, not able to make a motion picture alone. ‎我们当然无法独自拍电影
1:19:04 Many other elements go into the making of a motion picture, ‎拍电影的过程中还有很多其他元素
1:19:08 most important of which, I suppose, initially, would be huge sums of money. ‎最重要的 ‎我认为最初的就是很多钱
1:19:14 [Mitchell] The footballers-turned-movie stars Jim Brown and Fred Williamson ‎足球电影明星吉姆‎·‎布朗 ‎和弗雷德·威廉姆森
1:19:18 came through that year with two films each, ‎那年每人有两部电影
1:19:21 with impatient titles that are both synonyms and descriptors. ‎有着不耐烦的名字 ‎都是同义词和描述
1:19:24 Like Shaft, whose sequel, Shaft's Big Score, ‎就像《黑街神探》的续集 ‎《黑界神探大显神威》一样
1:19:27 sounds like it could be an athlete-turned-actor adventure. ‎听起来可能是一个 ‎运动员变演员的冒险
1:19:32 And these films were all solidly tattooed with the label "blaxploitation," ‎这些电影全部都被永远贴上了 ‎“黑人剥削电影”的标签
1:19:37 a brand that offered acknowledgment and dismissal simultaneously. ‎一个同时提供认可和拒绝的品牌
1:19:41 Though these films coursed through the bloodstream of American social ‎虽然这些电影是美国社会 ‎还有流行文化
1:19:45 and popular culture, ‎的一部分
1:19:46 they were seldom addressed in mainstream media, ‎他们很少被主流媒体关注
1:19:49 except, of course, to provoke panic. ‎当然除了用来引起恐慌
1:19:51 When I think of the word "blaxploitation," I think of the commodifying of Blackness. ‎当我想到“黑人剥削电影” ‎这个词的时候 我会想黑色的商品化
1:19:57 "How do we package and sell Blackness?" ‎“我们要怎么包装和销售黑色?”
1:19:59 "Exploitation" because they were white writers, white producers, ‎“剥削”因为他们是白人作家 ‎白人制作人
1:20:05 white director, and then they took it to the Black community, ‎白人导演 然后他们把它 ‎带去了黑人社区
1:20:09 and the Black community ate it up, made them a lot of money, ‎黑人社区喜欢它 为他们赚了很多钱
1:20:14 but not us. ‎但我们黑人没赚到钱
1:20:17 Is that not exploitation? ‎那不是剥削吗?
1:20:19 [Mitchell] Though the blaxploitation brand so often provoked debate and condemnation, ‎尽管黑人剥削电影的牌子 ‎经常引起辩论和谴责
1:20:24 the films quite often generated appeal and profit. ‎这些电影经常产生吸引力和利润
1:20:31 Mainstream movies now regarded as classic ‎主流电影现在被认为是经典的
1:20:33 feature white stars, bored with heroism, ‎让白人明星主演厌倦了英雄‎主义
1:20:36 becoming antiheroes as a way of wrestling with that issue ‎成为反英雄来对抗这个问题
1:20:39 and frustrating audiences in the bargain. ‎在这个过程中令观众失望
1:20:44 The Black stars, and one wonders why that wasn't a film title from the era, ‎黑名星们 不知道为什么 ‎那个时代没有这样的电影名字
1:20:49 made audiences beneficiaries of another natural evolution, ‎让观众成为另一种自然进化的受益人
1:20:52 swag in their own beauty and reveling in being in the center of the frame. ‎陶醉于自己的美丽 ‎沉醉在摄像头的中心
1:20:58 Certainly, in the Five Families scene from The Godfather, ‎当然在《教父》中的五大家族场景中
1:21:01 Francis Coppola showed the thoughtlessness of these characters in this scene, ‎弗朗西斯·科波拉在这个场景中 ‎展示了这个角色的欠考虑
1:21:05 clearly meant to be an indictment of them and not an approval of their thoughts. ‎显然‎是对他们的控诉 ‎而不是对想法的支持
1:21:09 In my city, we would keep the trafficking to dark people, the colored. ‎在我的城市里 我们把非法交易 ‎给深色皮肤的人、有色人种
1:21:12 They're animals anyway, so let them lose their souls. ‎反正他们都是动物 ‎所以让他们失去灵魂吧
1:21:16 [Mitchell] Still, even understanding what the film's intent was, ‎但即便理解了电影的意图
1:21:19 that sentiment can be a little hard to hear. ‎那个观点也很难接受
1:21:21 But it did ask a question answered by many Black films, ‎但它确实问了个 ‎由很多黑人电影回答的问题
1:21:24 which showed the rot left by drugs. ‎显示了毒品留下的腐烂
1:21:26 No! No! For God's sake! ‎不!上帝啊!
1:21:34 [Mitchell] Black films created a warrior class where there hadn't been one before. ‎黑人电影创造了一个 ‎从来没有过的战士阶级
1:21:38 Black audiences no longer had to sift through stories to find subtext ‎黑人观众不再需要筛选故事 ‎来找到可以解释
1:21:42 that explained why Black characters hovered in the margins. ‎为什么黑人 ‎只能是边缘小角色的潜台词
1:21:45 They now inhabited center frame by natural right. ‎他们现在有了天然的权力 ‎站在镜头中央
1:21:48 And at a time when the only mainstream movie hero ‎当时在唯一主流电影的英雄 ‎是邦德的时候
1:21:51 was Bond, James Bond, ‎当时在唯一主流电影的英雄 ‎是邦德的时候 ‎詹姆斯·邦德 在1973年 ‎由罗杰·摩尔扮演的007
1:21:53 who, in 1973, saw Roger Moore's 007 go nose-to-false-nose ‎詹姆斯·邦德 在1973年 ‎由罗杰·摩尔扮演的007 ‎面对假面挑衅系列片第一个
1:21:58 with the series' first and, to date, only Black big bad, ‎面对假面挑衅系列片第一个 ‎也是目前为止唯一一个 ‎由黑人亚菲特·库托扮演的大反派
1:22:02 played by Yaphet Kotto, ‎也是目前为止唯一一个 ‎由黑人亚菲特·库托扮演的大反派
1:22:04 in this ever-changing world in which Bond lived. ‎就在邦德生活的 ‎这个千变万化的世界里
1:22:09 Quite revealing. ‎揭露得真好
1:22:12 [Mitchell] Black movies were portraying the dilemmas of the inner city, ‎黑人电影描绘了内城的两难处境
1:22:15 the ravages of crime, and the drug war. ‎犯罪的肆虐和毒品战争
1:22:18 Only, in these films, African-American leads were fighting back. ‎只有在这些电影里 ‎非裔美国人主演在回击
1:22:22 It was understood that cops wouldn't help. ‎影片中人们知道 警察不会帮忙
1:22:24 They were often as indifferent as they were corrupt. ‎他们经常既腐败又冷漠
1:22:27 Jim Brown reprised Slaughter, his verb-as-surname character, ‎在《大屠杀》中 吉姆·布朗 ‎重奏了斯劳特 这个人物的名字
1:22:30 in Slaughter's Big Rip-Off, ‎有大屠杀的意思
1:22:32 complemented by the singular two-fisted funk ‎由早期詹姆斯·布朗配乐的
1:22:35 of an early James Brown score. ‎强劲放克完成
1:22:38 In Hit!, Billy Dee Williams was a CIA agent ‎在《打击!》中 ‎比利·迪·威廉姆斯是中情局特工
1:22:41 who recruits an unlikely group of walking wounded ‎他在与国际毒贩的个人对抗中
1:22:44 in his personal fight against international drug dealers. ‎雇佣了一群不可思议的 ‎受伤却活着的人
1:22:47 He lost his daughter to drugs. ‎他因为毒品失去了女儿
1:22:48 What's it gonna do for you to kill me, man? ‎你要杀我有什么用?
1:22:52 I'm just a worker. ‎我只是个打工的
1:22:53 It really required a kind of a a mentality ‎这真的需要一种
1:22:58 that he was capable of using whatever, uh, he needed to use ‎他能够用他需要的一切
1:23:03 in order to accomplish his mission. ‎来完成任务的心态
1:23:09 That's very interesting. ‎这很有意思
1:23:11 And, in a way that, for uh, little brown-skinned boys like me ‎而且在某种程度上 ‎像我一样的棕色皮肤的小男孩
1:23:16 never had the opportunity to do that kind of stuff. ‎永远没有机会去做那种事
1:23:20 And the fact that Sidney wanted me to play that character, ‎西德尼 想让我扮演那个角色
1:23:22 felt I was right for that character, ‎觉得我很适合那个角色
1:23:24 I tried to use it in the best way that I could. ‎我尽量用了最好的方式去演
1:23:28 Again, it was an opportunity ‎再说一次 这是一个机会
1:23:30 to show a side that you normally would not see on-screen. ‎展示你通常无法在银幕上看到的一面
1:23:34 I think that adds to the vulnerability. I was thinking about vulnerability. ‎我觉得这增加了脆弱 我在想脆弱
1:23:38 It makes the character a little bit more than just a ruthless kind of individual. ‎让这个角色变得更丰富一点 ‎不只是残忍
1:23:46 [Mitchell] Gordon's War featured a group of Black Vietnam vets ‎《黑旋风挑战黑霸王》中 ‎有一群越南黑人兽医
1:23:49 using their skills to return fire against drug dealers. ‎用他们的技能对毒贩反击
1:23:53 It featured a couple of startlingly original visual high points ‎里面创造了几个惊人的原创视觉镜头
1:23:56 that have been quoted in films ever since. ‎在后来的电影中不断被引用
1:23:59 New Jack City, to name just one, ‎举个例子《新杰克城》
1:24:01 scored by Angelo Badalamenti, who would later work with David Lynch. ‎配乐由后来与大卫·林奇合作的 ‎安吉洛·巴达拉曼蒂制作
1:24:06 Got a light? ‎有火吗?
1:24:07 This MacGyver-like action moment with an aerosol can, ‎这种拿着喷雾器罐的麦吉弗式 ‎动作场面
1:24:10 which could be seen as a metaphor for its environmental danger, ‎可以被视为对环境危险的隐喻
1:24:13 has made its way into innumerable action films. ‎已经在无数动作片中出现
1:24:20 [Mitchell] Audiences of all colors came out to see these movies ‎各种肤色的观众都来看这些电影
1:24:22 because they could feel the adrenaline in the actors, ‎因为他们能感受到 ‎演员体内的肾上腺素
1:24:25 many of whom came from the stage, and those actors' exhilaration in working. ‎他们中的许多人来自舞台 ‎那些演员在工作中很兴奋
1:24:30 -[upbeat funk music playing] -Second runner-up, Pretty Tony! ‎第二名 漂亮托尼!
1:24:33 [Mitchell] In The Mack, for example, Dick Anthony Williams as Pretty Tony ‎例如在《麦克》中 ‎迪克·安东尼·威廉姆斯演漂亮托尼
1:24:37 is as compelling as any figure in a '30s gangster movie. ‎与30年代黑帮电影中的任何人物一样 ‎引人注目
1:24:40 He told me his improvisations came out of wanting to portray ‎他告诉我 他的即兴创作 ‎来源于想要塑造一个
1:24:43 an inner-city version of Edward G. Robinson ‎内城版的爱德华·罗宾逊
1:24:46 brought up-to-date with turns of phrases he heard growing up. ‎他把自己成长过程中 ‎听到的各种短语不断更新
1:24:50 Nigga, next time you hear grown folks talkin', ‎黑鬼 下次你再听到大人说话
1:24:54 shut the fuck up. Hear? ‎闭上嘴 听到了吗?
1:24:55 [Mitchell] The impact of that kind of concise hypermasculinity ‎那种简洁的超级男子气概的影响 ‎在几十年后依然存在
1:24:58 would be felt decades later, in lines that seem to be written for Black actors, ‎那些台词似乎是为黑人演员写的
1:25:02 if not spoken by them. ‎即便不是由他们说的
1:25:04 -Want me to shoot this guy? -Shit. ‎-要我开枪打这人吗? ‎-靠
1:25:07 You shoot me in a dream, you better wake up and apologize. ‎你在梦里开枪打我 ‎你最好醒过来道歉
1:25:14 [Mitchell] There was a more specific realization ‎对爱德华·罗宾逊出演《黑色凯撒》
1:25:16 of Edward G. Robinson to come in Black Caesar. ‎有更具体的认识
1:25:18 They never look at me. They never look at my face, my nose, my lame foot. ‎他们从来不看我 他们从不看我的脸 ‎我的鼻子、我的瘸腿
1:25:23 All they know is that I'm Black. ‎他们只知道我是黑人
1:25:26 [Mitchell] Imagine if the man who inspired Cohen to write Black Caesar, ‎想象一下 如果启发科恩创作 ‎《黑色凯撒》的人小萨米·戴维斯
1:25:29 Sammy Davis Jr., got to star in the work he set into motion, ‎想象一下 如果启发科恩创作 ‎《黑色凯撒》的人小萨米·戴维斯 ‎在他着手创作的作品中担任主角
1:25:33 but Cohen ended up with Fred Williamson as Black Caesar. ‎但科恩最终 ‎让弗雷德·威廉姆森饰演黑色凯撒
1:25:36 When he asked the studio head to account for the size difference ‎当他要求电影公司负责人 ‎解释威廉姆森
1:25:39 between Williamson and Davis, ‎和戴维斯的体型差异时
1:25:41 the studio head thought for a moment and said, ‎电影公司负责人想了一会儿说
1:25:44 "Give Fred a limp." ‎“让弗雷德瘸腿吧”
1:25:50 A 1973 concert documentary, Save the Children, ‎1973年的音乐会纪录片《拯救儿童》
1:25:53 filmed at the 1972 Operation PUSH rally, ‎拍摄于1972年的“推动行动”集会
1:25:57 had appearances that ranged from Jesse Jackson to The Jackson 5, ‎其中出现了 ‎从杰西·杰克逊到杰克逊五兄弟
1:26:01 from Nancy Wilson to Zulema, ‎从南希·威尔逊到祖利玛
1:26:05 and put music and progressive politics together. ‎把音乐和进步政治结合在一起
1:26:07 It was a massive enterprise to assemble. ‎这是一项浩大的工程
1:26:12 We started with the Motown acts. So once we'd booked Marvin Gaye, ‎我们从摩城乐队开始 ‎所以一旦我们预定了马文·盖伊
1:26:17 Temptations, ‎诱惑合唱团
1:26:18 Gladys Knight & the Pips, you know, folks like that, ‎葛蕾蒂丝·奈特与种子合唱团 ‎像这样的人们
1:26:20 it started to be this thing about people wanted to do it. ‎这件事就成为了人们想要参与的事件
1:26:23 And then, Clarence had a record company, so he got Bill Withers and Nancy Wilson ‎后来 克拉伦斯开了一家唱片公司 ‎他请来比尔·威瑟斯和南希·威尔逊
1:26:28 and Sammy Davis Jr. ‎还有小萨米·戴维斯
1:26:30 Quincy was already involved so he got Roberta Flack, ‎昆西已经参与了 ‎所以他找来了罗伯塔·弗莱克
1:26:33 and he put together a house band that was an all-star band. ‎他组建了一个全明星乐队
1:26:38 And so this thing sort of turned into this amazing gathering ‎所以这件事 在某种程度上变成了
1:26:42 of some of the best musicians that were available at that time. ‎当时一些最好的音乐家的聚会
1:26:46 It was big. It was huge. ‎这件事很大 非常巨大
1:26:48 And it was a a huge success, ‎这是一次巨大的成功
1:26:50 'cause all of those musicians brought their best game. ‎因为所有那些音乐人 ‎都在他们事业的巅峰期
1:27:02 It got to a point where the level of artistry was off the roof. It was crazy. ‎我们的艺术水平达到了 ‎精彩绝伦的地步 这是不可思议的
1:27:09 [Mitchell] Black female characters determined to be recognized ‎黑人女性角色决心获得认可
1:27:12 not merely because of their proximity to a man. ‎不仅仅是因为她们接近男性
1:27:15 No longer compliant arm candy, ‎不再做顺从的性伴侣
1:27:18 they also threw down against a battalion of stuntmen. ‎他们还和一队特技演员进行了对打
1:27:21 It was the final frontier for Black actresses ‎这是黑人女演员的最后的边界
1:27:24 and established a definition of heroism ‎确立了英雄主义的定义
1:27:27 that allowed for directness rather than martyrdom. ‎允许坦率而不是牺牲
1:27:30 Before this, movies often conflated Black femininity ‎在此之前 ‎电影常常将黑人女性特质
1:27:33 with romanticized masochism. ‎与浪漫化的受虐狂混为一谈
1:27:36 What audiences were getting was something entirely new. ‎但现在观众们看到的是全新的东西
1:27:40 Black films are just, like It's an evolution. ‎黑人电影就像…是一次进化
1:27:42 It's not something that's gonna come and pop automatically, ‎那不是会自动突然出现的
1:27:45 and everything will happen immediately because nothing happens that way, ‎所有的事都会立即发生 ‎因为没有事是那样发生的
1:27:48 and things will take time. Progress has to be a slow thing ‎事情发生都会有时间 ‎进步一定是个缓慢的过程
1:27:52 in order for it to be definite, you know, and beneficial, I think, ‎为了让它更永久和有益 我认为
1:27:55 so it's gonna take a little while. ‎所以还是要花点时间
1:27:56 There's so many different areas that haven't been been realized yet ‎就黑人演员而言 ‎还有很多不同的领域
1:28:00 as far as Black actors are concerned. ‎还没有被实现
1:28:02 And, uh, it's all new to me. I'm I'm a new actress, as you know, ‎这对我来说是全新的 ‎我是个新演员 你知道的
1:28:07 and, uh, I've just begun to work, ‎我才刚刚开始工作
1:28:10 and there's so many areas of work I haven't touched yet. ‎还有很多工作领域我还没有接触到
1:28:12 I have a lot more training that I have to get ‎在我真正成为演员之前
1:28:14 before I can really call myself an actress. ‎我还有很多训练要做
1:28:17 [Mitchell] Laurence Olivier once said, ‎(劳伦斯·奥利弗 演员)
1:28:19 "When you're young, you're too bashful to play a hero." ‎“你年轻的时候 ‎太害羞了 不敢做英雄”
1:28:22 "You debunk it." "It's only when you're older ‎“你批判一切 只有当你长大了
1:28:25 that you understand the pictorial beauty of heroism." ‎才会明白英雄主义的形象之美”
1:28:28 Black actors not only understood that beauty, they embraced it ‎黑人演员不仅理解这种美 ‎而且欣然接受
1:28:32 because of the communal thirst we had for heroes. ‎因为我们对英雄的渴望
1:28:35 America, in the throes of uncertainty, embraced those Black heroes ‎在不确定的痛苦中挣扎的美国 ‎拥抱了那些黑人英雄
1:28:39 who were played onto the screens with dynamic and celebratory music scores. ‎他们在充满活力的庆祝音乐中 ‎出现在屏幕上
1:28:44 Remember, it was Shaft that saved MGM from bankruptcy. ‎记住 是《黑街神探》 ‎让米高梅影业免于破产
1:28:47 And the newest arrival to this extraordinary league ‎最新来的非同寻常的一群
1:28:51 that redefined accomplishment and glory in the movies was Pam Grier. ‎在电影里重新定义了成就和光荣的人 ‎是帕姆·格里尔
1:28:55 From 1970 until 1973, she appeared in seven films, ‎从1970 年到1973年 ‎她出演了七部电影
1:29:00 with each role giving her more screen time. ‎每一个角色都给了她更多 ‎在银幕上的时间
1:29:02 A 1970s Esquire magazine article ‎20世纪70年代《时尚先生》杂志的 ‎一篇文章
1:29:05 on rising stars that would go on to change the movies, ‎那些会改变电影的新星
1:29:09 a group that included Steven Spielberg, who was just finishing Jaws, ‎这群人包括刚刚拍完《大白鲨》的 ‎斯蒂芬·斯皮尔伯格
1:29:12 and George Lucas, fighting to start something called The Star Wars, ‎还有乔治·卢卡斯努力开始拍一部 ‎叫《星球大战》的电影
1:29:16 Pam Grier was one of the few actors mentioned, ‎帕姆·格里尔是所提到的 ‎为数不多的演员之一 对她的描述是
1:29:18 described as, "One of three actresses whose movies consistently make money." ‎帕姆·格里尔是所提到的 ‎为数不多的演员之一 对她的描述是 ‎“所拍电影一直以来都在赚钱的 ‎三位女演员之一”
1:29:22 "The other two are named Barbra and Liza." ‎“另外两个叫芭芭拉和莉莎”
1:29:25 Grier said, "I'm the only lady in movies nowadays who isn't a victim." ‎格里尔说:“我是唯一一个 ‎在现在电影里不是受害者的女性”
1:29:29 "Determination was key working roles such as a half-panther madwoman," ‎“决心是演角色的关键 ‎比如离异的疯女人”
1:29:33 as the article says. ‎那篇文章如是说
1:29:35 In '73, she was also in Scream Blacula Scream ‎在73年 她还出演了《吸血黑王子》…
1:29:37 Now, with such a lovely guide, ‎现在有了这么可爱的引导
1:29:40 I'm afraid I'd lose my concentration on the artwork. ‎我担心我会失去对作品的专注
1:29:44 How about that? ‎怎么样?
1:29:46 [Mitchell] and Black Mama White Mama. ‎…还有《被束缚的女人》
1:29:48 You can stick that up your ass. Now, let's go! ‎去死吧 现在走吧!
1:29:56 [Mitchell] But it was in Coffy that she proved herself a movie star. ‎但她在《科菲》里证明了 ‎自己是电影明星
1:29:59 Toni Morrison once told me, "It was a dismissal ‎托尼·莫里森曾经告诉我: ‎“称呼格里尔的角色
1:30:02 to call Grier's characters, such as Coffy, 'a badass.'" ‎比如称呼科菲为‘坏蛋’ ‎是一种打发”
1:30:05 "It diminished her as an actress." ‎“这让她失去了演员的身份”
1:30:07 And more importantly, she thought Grier's performance ‎更重要的是 她认为格里尔的表演
1:30:10 dealt with the moral complexities demanded of Black women. ‎满足了对黑人女性的道德要求
1:30:13 The toll of maintaining her equilibrium ‎一边把用自己的方式惩罚犯罪
1:30:16 while taking the law into her own hands and dealing with betrayal ‎一边接受背叛 维持平衡的代价
1:30:19 showed in her performance as she avenges her sister's death, ‎在她为姐姐的死报仇的表演中展现
1:30:22 a metaphor for Black women juggling roles ‎这是黑人女性杂耍角色的暗喻
1:30:25 such as protectors and nurturers simultaneously. ‎比如同时是保护者和养育者
1:30:28 -Now, come on. -[woman] Howie, what are you doing? ‎-现在 来吧 ‎-霍华德 你在做什么?
1:30:31 Come back to bed-- ‎回来睡吧…
1:30:36 Coffy, baby. You gotta understand. I I thought you were dead! ‎科菲 宝贝 你必须明白 ‎我以为你死了!
1:30:42 [Mitchell] But often, and finally, alone. ‎但经常 并且最终还是独自一个人
1:30:45 Still, moving on. Hopefully, towards community. ‎但生活还要继续 ‎希望能生活在可以融入的地方
1:30:48 She'd be an archangel ‎她会是一个大天使
1:30:50 delivering her people from the end of the world. ‎从世界的尽头拯救她的人民
1:30:52 Always around the corner for African Americans. ‎随时准备好帮助非裔美国人
1:30:55 Coffy allows Grier a final moment of respite ‎科菲让格里尔在恰当风景的新视角中
1:30:58 in a new version of a picture-postcard shot. ‎能够有喘息的时间
1:31:02 In 1973, we were in the midst of botched opportunities, ‎在1973年 我们处于被浪费的机会中
1:31:06 such as Shaft in Africa, and responses to Black action films, ‎比如《非洲怒豹》 ‎以及对黑人动作片的回应
1:31:10 such as the adaptation of the play Five on the Black Hand Side, ‎比如《黑人击掌》的改编
1:31:13 which starred a young Glynn Turman. ‎由年轻的葛林·托曼主演
1:31:15 What does that feel like? ‎那是什么感觉?
1:31:18 Feels like a lifetime ago, tell you the truth. ‎感觉像是上辈子的事了 说真的
1:31:21 It's amazing that all of that was happening then, ‎那时发生了一切 很美妙
1:31:27 and, uh, that I got to work with such wonderful, wonderful, iconic people, ‎我可以和如此完美、标志性的人共事
1:31:33 you know. ‎你知道
1:31:35 And it, uh ‎而且…
1:31:37 It's a history, man, that ‎这是个历史 兄弟…
1:31:41 You don't go into it thinking that it's going to have any import. ‎你不会去想这会有什么意义
1:31:46 It was just, like, uh, ‎只是为了…
1:31:48 survival. ‎生存
1:31:50 You're young. ‎你还年轻
1:31:52 You know, you're trying to get started in the business. ‎你想开始做生意
1:31:54 You're trying to put your foot down ‎你想构建自己
1:31:56 and make a mark for yourself in the business. ‎让你在商业界获得认可
1:31:59 [Mitchell] There also came a film that was like the answer to a riddle. ‎还有一部电影 那就像是谜语的答案
1:32:03 What would you get if you gave the star ‎如果你给了可怕的
1:32:05 of a terrible and ghastly World War II sitcom ‎二战喜剧明星
1:32:08 and the editor of that show a chance to make a movie? ‎以及这节目的编剧 ‎一个机会拍电影 你会得到什么?
1:32:10 Ivan Dixon, who quit Hogan's Heroes, and Michael Kahn, that show's editor, ‎伊万·迪克森退出了《霍根英雄》 ‎他和迈克尔·卡恩 那个节目的编剧
1:32:15 first worked together on Trouble Man. ‎首次在《检修员》合作
1:32:17 But Dixon's dream project was an adaptation ‎但迪克森的梦想项目是改编
1:32:19 of Sam Greenlee's agitprop satiric novel, The Spook Who Sat by the Door, ‎萨姆‎·‎格林利的讽刺小说 ‎《坐在门口的幽灵》
1:32:24 in which a Black man, recruited by the CIA, ‎在这里一名中情局招募的黑人
1:32:27 takes the agency's tactics to the streets and creates a revolution. ‎把当局的策略带到街头 ‎创造了一次革命
1:32:31 Dixon's years of struggle to get this project completed ‎迪克森多年努力来让这个项目完成 ‎这个过程
1:32:34 could be a movie. ‎都够拍一部电影了
1:32:36 Finally raising the money to make half the movie ‎终于筹了钱来拍了一半的电影
1:32:38 and showing action sequences to get studio interest, ‎展示动作顺序来得到电影公司的兴趣
1:32:41 a bidding war, won by United Artists, got him the other half. ‎联美影业赢得了竞标大战 ‎让他拍了另一半
1:32:46 According to Dixon, the studio was appalled by a film ‎根据迪克森所说 ‎电影公司被一部电影吓到了
1:32:49 they feared might cause actual riots and lawsuits ‎他们害怕可能引起真的暴动和诉讼
1:32:52 instead of a riot at the box office. ‎而不是有很多人去看电影
1:32:55 It included a line that I thought belonged in the annals of film history, ‎上面写了一句 ‎我认为是电影史的记录
1:32:58 alongside "an offer he couldn't refuse." ‎以及“我要让他不能拒绝”
1:33:02 [man] Remember, ‎记住
1:33:04 a Black man with a mop, tray, or broom in his hand ‎手里拿着拖把、盘子或者扫帚的黑人
1:33:07 can go damn near anywhere in this country. ‎可以到这个国家的任何地方
1:33:10 And a smiling Black man ‎一个微笑的黑人
1:33:12 is invisible. ‎是不会被注意的
1:33:13 [Mitchell] This line brought down the house when I saw the movie in Detroit in 1973, ‎当我在1973年在底特律看这部电影时 ‎这句话引起了掌声和欢呼
1:33:18 and it continues to set off fireworks and inspiration decades later. ‎而且在几十年后持续引起了强烈反响
1:33:22 [Nipsey Hussle] I'mma name my last album The Spook That Sat by the Door. ‎我要把最后一张专辑的名字 ‎叫做《坐在门口的幽灵》
1:33:25 Basically, he used their agenda, ‎他基本上用了他们的计划
1:33:26 which was to have a token nigga in the CIA for political reasons. ‎因为政治原因 ‎在中央情报局有一个黑人
1:33:30 -You know, we gonna speak blunt. Fuck it. -[woman] Right. ‎-我们要坦诚… ‎-好 ‎…来讲 该死
1:33:32 Um, he used it against 'em. ‎他用它来对付他们
1:33:36 [Mitchell] Dixon told me that when Spook ended its theatrical run, ‎迪克森告诉我《坐在门口的幽灵》 ‎下映的时候
1:33:40 United Artists called him in for a meeting and told him ‎联美公司叫他去开会 告诉他
1:33:42 the movie was being tracked by US Intelligence, ‎电影被美国情报局追踪
1:33:45 which means there's a photo of me ‎也就是说有我
1:33:47 and my high-school friends somewhere in Langley. ‎和我在兰利的高中朋友的一张照片
1:33:50 This movie created such a furor ‎这部电影创造了一场狂欢
1:33:52 that Dixon felt his theatrical moviemaking career was finished. ‎让迪克森以为 ‎他的戏剧电影制作生涯结束了
1:33:56 A film about insurrection was being treated ‎一部关于暴动的电影
1:33:59 as if it were the act itself. ‎被当作暴动本身
1:34:02 Don't quit ‎不要退出
1:34:04 until you either win, ‎除非你赢了
1:34:06 or you die. ‎或者死了
1:34:07 [Mitchell] The Spook Who Sat by the Door infused a genre film, the spy thriller, ‎《坐在门口的幽灵》以黑人视角 ‎融入了类型片
1:34:12 with a Black perspective ‎间谍惊悚片
1:34:13 and forced audiences to reexamine how narrow that genre had been. ‎让观众重新评估体裁之前多有限
1:34:18 Ganja & Hess finds visuals, either poetic or realistic and harsh, ‎《吉娜与汉斯》找到了视觉效果 ‎不论诗意或现实、严酷的
1:34:23 to keep its emotional fluidity constant. ‎来保持情绪的流动性
1:34:25 -[unsettling music playing] -[screams] ‎(《吉娜与汉斯》1973年 ‎导演:比尔·冈恩)
1:34:31 [Mitchell] Duane Jones, steely and determined ‎杜安·琼斯作为
1:34:33 as the monster killer in Night of the Living Dead, ‎《活死人之夜》中的怪物杀手 ‎非常坚韧而坚定
1:34:36 is cast as the monster here, and his resolve to keep his soul alive ‎他是这里的怪物 ‎当电影从梦境变成血腥的现实时
1:34:40 as the movie shifts from dreamscape to bloody reality ‎他决心要让灵魂活着
1:34:44 became a metaphor for the life of Bill Gunn, ‎这成了比尔·冈恩人生的暗喻
1:34:46 the film's writer, director, and costar. ‎他是电影的编剧、导演和联合主演
1:34:49 Real-life horror played out for Gunn, ‎现实生活中的恐怖发生在了冈恩身上
1:34:51 who witnessed his triumph edited into different versions, ‎他目睹了自己的成功 ‎被编辑成了不同的版本
1:34:54 each badly titled recut worse than the previous one, ‎每次都被改头换面 比前一个更糟
1:34:58 transforming his art into something monstrous. ‎把他的艺术变成了可怕的东西
1:35:02 Gunn fought to work in the movies ‎冈恩在他导演的《停止》首映之后
1:35:04 even after his directorial debut titled Stop! ‎依然奋斗于在电影行业工作
1:35:08 Ishmael Reed writes, ‎伊希梅尔·里德写道
1:35:09 "Warner Bros. was so upset with Stop! that it buried the film ‎“华纳兄弟对《停止》非常失望! ‎这掩埋了电影
1:35:13 and got Gunn to return his writing and directing fees." ‎让冈恩返还他的编剧和导演费”
1:35:19 1974 was another seismic movement of the needle for Black film. ‎1974年是黑色电影的又一次大转变
1:35:24 [men] The Black 6. ‎(《黑色六人组》)
1:35:29 [Mitchell] A jolt courtesy of Diahann Carroll ‎承蒙迪亚恩‎·‎卡罗尔的震撼允许
1:35:31 as a weary but determined mother of six in Claudine. ‎(《克劳汀》1974年 ‎导演:约翰·贝瑞)
1:35:34 [woman on phone] Sorry, that number's been disconnected. "Disconnected"?! ‎-抱歉 号码已断线 ‎-“断线”?!
1:35:39 [Mitchell] Diahann Carroll, whose beauty was deepened by a core of calm, ‎迪亚恩·卡罗尔因为她的冷静 ‎美丽得更吸引人
1:35:43 was one of those who seized the opportunity to be free ‎是抓住机会摆脱掉
1:35:46 of her civilized smoothness. ‎八面玲珑文明特性的人之一
1:35:48 Please, Francis! Don't do that! You'll electrocute yourself! ‎求你了 弗朗西斯!别这样! ‎你会电死自己!
1:35:52 [Mitchell] As the titular character in this drama, Claudine fought the welfare system ‎作为这部剧命名的人 ‎克劳汀与福利体系
1:35:56 and the streets of Chicago for the souls of her children. ‎和芝加哥街头作斗争 ‎就是为了她孩子们的灵魂
1:35:59 And she won, in that her kids were still alive at the end. ‎她赢了 因为她的孩子们最后还活着
1:36:03 For her efforts, Carroll got a Best Actress Oscar nomination. ‎因为她的努力 卡罗尔获得了 ‎奥斯卡最佳女主角提名
1:36:07 Claudine also benefited from being one of the five scores that Curtis Mayfield wrote. ‎克劳汀也从柯蒂斯·梅菲尔德所写的 ‎五首配乐之一中获益了
1:36:11 It was a song cycle in which all the songs came ‎那是一首里面循环了所有歌的歌
1:36:14 from the perspectives of the characters, sung by Gladys Knight & the Pips. ‎都是从角色的角度来看的 由葛蕾 ‎蒂丝·奈特与种子合唱团演唱
1:36:18 Including one that, in the song, ‎歌里的其中一个角度
1:36:20 precisely outlined a centuries-old fear faced by people of color. ‎准确描述了有色人种 ‎几百年来面临的恐惧
1:36:25 To be invisible ‎成为隐形人
1:36:28 Will be my claim to fame ‎这将是我的名声所在
1:36:32 A girl with no name ‎一个没有名字的女孩
1:36:34 I actually was cast in Claudine ‎其实当戴安娜‎·‎桑兹被选 ‎来演《克劳汀》的时候
1:36:37 when Diana Sands was cast to play Claudine. ‎我要出演《克劳汀》
1:36:41 And then she passed away. ‎然后她去世了
1:36:44 And so they, you know they reshuffled the deck, and they found another bunch of actors. ‎于是他们改变计划了 ‎又找了一堆演员
1:36:49 I mean, they had ‎我是说 他们有…
1:36:50 I had auditioned, uh, ‎我为第二小的儿子
1:36:53 for the second-youngest son, ‎试镜了
1:36:55 but I wound up not being cast in it after that. ‎但我最后没能安排出演
1:36:58 You know, they they recast it. ‎你知道 他们把它给了新演员
1:37:01 [Mitchell] An intriguing piece of editorial in action-leather camouflage ‎一个伪装便宜的有趣改编
1:37:05 was Three the Hard Way, which teamed Jim Brown ‎是《三难的道路》 ‎里面有吉姆·布朗
1:37:09 and Fred Williamson ‎弗雷德·威廉姆森
1:37:10 with martial artist Jim Kelly's Afro. ‎还有武术家吉姆·凯利的发型
1:37:13 Three cities and three of us. ‎三个城市 我们三个人
1:37:15 [Mitchell] They take on a neo-Nazi organization, ‎他们要对抗一个新纳粹组织
1:37:17 which develops a poison that only kills African Americans ‎会产生一种只会杀死 ‎非裔美国人的毒药
1:37:21 and will be dumped into the water supplies of LA, Detroit, and Washington, D.C., ‎会被投进洛杉矶、底特律 ‎和华盛顿的水域
1:37:26 all of which look suspiciously like Los Angeles. ‎所有这些看起来都很可疑地像洛杉矶
1:37:29 I thought it was the most laughable thing I'd ever seen ‎我以为这是我见过最可笑的东西
1:37:32 until my father explained the Tuskegee Experiment to me, ‎直到我父亲向我解释了塔斯基吉实验
1:37:35 and Three the Hard Way was suddenly a meditation on justifiable paranoia, ‎《三难的道路》突然表达了 ‎合理的偏执
1:37:40 the scientific term for which is "African American," I believe. ‎我相信科学术语是“非裔美国人”
1:37:45 1974 follows that film with a heartbreaking footnote, ‎1974年那部电影之后 ‎依然是心碎的小人物
1:37:49 one of the final film performances of Diana Sands. ‎是戴安娜‎·‎桑兹最后的一些电影表演
1:37:52 Honeybaby, Honeybaby was a messy cocktail with a splash of spy caper, ‎《亲爱的宝贝》混杂着间谍活动
1:37:57 a twist of action melodrama, a zest of character comedy, ‎动作剧的歪曲 人物喜剧的兴趣
1:38:00 and so insecure it begins with the movie describing itself to you. ‎非常不安 ‎电影开头就开始给你描述内容
1:38:05 Hey, how you doin'? ‎嘿 你好吗?
1:38:07 My name is J. Eric Bell, and I just got back from Beirut, Lebanon, ‎我叫J·艾瑞克·贝尔 ‎我刚从黎巴嫩的贝鲁特回来
1:38:11 while filming a movie, Honeybaby, Honeybaby, on location. ‎在拍电影《亲爱的宝贝》 ‎出外景的时候
1:38:15 [Mitchell] '74 was bookended with Sands. ‎74年开头和结尾都是桑兹
1:38:18 Another of her last film appearances is in Willie Dynamite, ‎她最后几部电影中的另一个是 ‎《威利·迪纳米特》
1:38:21 which starred stage actor Roscoe Orman, who is now better known for another role. ‎主演是舞台剧演员罗斯科·奥曼 ‎现在他的另一个角色更为人所知
1:38:27 [Orman] I used to joke when Willie finally left after that last scene, ‎我以前常在威利的最后一个镜头 ‎终于离开之后开玩笑
1:38:30 he turned the corner, and there was this big yellow bird on the street. ‎他转向角落 ‎街上有一只芝麻街大黄鸟
1:38:37 But it was true. ‎但那是真的
1:38:38 I mean, within within that year following Willie Dynamite, ‎我是说 那一年里 ‎在《威利·迪纳米特》之后
1:38:41 there I was as Gordon on Sesame Street. ‎我就是芝麻街上的戈登
1:38:47 Looking for work? ‎找工作?
1:38:50 [Mitchell] The light in Orman's eyes, as Willie Dynamite, ‎奥曼作为威利·迪纳米特 ‎眼睛里的光
1:38:52 signaled his eagerness to work with an acting partner ‎代表了他想和一位坚韧美丽 ‎和他的冷血机智匹配的演员搭档
1:38:55 whose radiant toughness matched up with his coldhearted savvy. ‎共事的渴望
1:38:59 [Orman] I had the incredible good fortune of working with, ‎我有幸跟有史以来
1:39:03 you know, one of the great actors of all time. ‎最伟大的一位演员合作
1:39:05 Diana, she was so well-grounded and educated ‎戴安娜 她很有学识 在表演艺术方面
1:39:10 in terms of the art of of, uh, performance, you know, and, uh ‎受到了良好的教育 你知道…
1:39:15 Of course she and Lorraine Hansberry were close friends, ‎当然 她和洛林·汉斯伯里是好朋友
1:39:18 and Sidney and Ruby and Ossie and all of 'em, you know. ‎还有西德尼、鲁比、奥西他们
1:39:22 I mean, these were all my mentors as well. ‎那些也都是我的导师
1:39:27 Willie was a performer, and those courthouse steps, ‎威利是个表演者 那些法院的台阶
1:39:30 you know, that was like Baryshnikov. ‎就像巴雷什尼科夫一样
1:39:32 Platform shoes, high-heeled platform shoe-- ‎厚底鞋 高跟厚底鞋…
1:39:38 I'd probably break every bone in my body now. ‎我现在可能就得把骨头扭断了
1:39:43 [Mitchell] Three the Hard Way director Gordon Parks Jr. ‎《三难的道路》的导演 ‎小戈登·帕克斯
1:39:46 had another film that year, Thomasine & Bushrod, ‎在那一年还有一部电影 ‎《托马森和布什罗德》
1:39:49 an Afrocentric and bucolic Western ‎一部以非洲为中心的田园西部片
1:39:52 that braided a Black twist into Bonnie and Clyde with its pairing ‎是以黑人为中心的 ‎《雌雄大盗》的变体 结合了
1:39:55 of two of the most beautiful people in the American West, ‎美国西部最美的两个人
1:39:58 Vonetta McGee and Max Julien, on the run. ‎在逃的 ‎沃内塔·麦吉和马克斯·朱利安
1:40:01 Their scenes together toyed with a movie-star version ‎他们在一起的场景 ‎玩弄了他们自己真实
1:40:04 of their own real-life chemistry. ‎生活互动的电影版本
1:40:06 How you doin', Mr. Bushrod? ‎你好吗 布什罗德先生?
1:40:09 I do fine, Thomasine. I do fine. I just never thought I'd see you again. ‎我很好 托马森 ‎我只是没想到会再见到你
1:40:14 Here I am. ‎我来了
1:40:15 -[romantic music playing] -And you look good. Damn, you look good. ‎你看起来不错 ‎该死 你看起来真不错
1:40:20 [Mitchell] It showcased the languorous, easy score by Arthur Lee ‎它展示了亚瑟·李的慵懒轻松配乐
1:40:23 and the script by its star, Max Julien. ‎和明星马克斯·朱利安的剧本
1:40:26 [Turman] Thomasine & Bushrod was so much fun. Uh ‎《托马森和布什罗德》非常有趣
1:40:29 Max Julien was such a great guy ‎马克斯·朱利安这个人很棒
1:40:32 and such an innovative guy and a daring guy. ‎很勇于创新 是个大胆的人
1:40:34 He produced that movie. He wrote it, produced it, you know. ‎他制作了那部电影 ‎是他写的、制作的 你知道
1:40:37 He was-- He called the shots. ‎他说了算
1:40:39 So, of all those motion pictures ‎所以在“剥削黑人”时期出现的
1:40:41 that came out of the "Black exploitation," quote, period, ‎所有那些动作画面
1:40:44 Max was one of the few Blacks who controlled his own product. ‎马克斯是掌控了自己作品的 ‎少数黑人之一
1:40:49 I knew one thing. I knew that Max and Vonetta were revolutionary. ‎我知道一件事 ‎我知道马克斯和沃内塔是革命性的
1:40:54 Max would just say, you know, "I'm not gonna take this shit." ‎马克斯会说:“我不会接这个烂片的”
1:40:58 And he didn't, you know, and, uh ‎他也没有 你知道 然后…
1:41:01 "Let's do our own, man. We'll just do our own." ‎“我们自己来吧 我们自己做就好了”
1:41:06 [Mitchell] In the adaptation of the autobiographical book ‎在自传书的改编里
1:41:09 The Education of Sonny Carson, ‎《索尼·卡森的教育》
1:41:11 the young protagonist is subjected to extremes of Black masculinity, ‎年轻的主人公在一部 ‎残酷与诗意之间的电影中
1:41:15 in a film that floats between the brutal and the poetic. ‎受到了黑人男子气概的极端影响
1:41:20 This time, director Michael Campus, who also made The Mack, ‎这一次 也执导了《老兄》 ‎这部电影的迈克尔·坎普斯导演
1:41:23 tells a story about a Black hero ‎讲述了一个黑人英雄的故事
1:41:26 who can't outwit the prison-industrial complex ‎他斗不过监狱工业区的人
1:41:29 and is nearly suffocated by incarceration. ‎几乎被监禁到窒息了
1:41:32 For Sonny, the antidote is moving from one urban tribe to another ‎对索尼而言 ‎对策是从一个都市部落换到另一个
1:41:36 to prove his worth. ‎来证明他自己
1:41:38 One of its most harrowing scenes shows the adolescent Sonny ‎其中最悲惨的一个场景 ‎是青少年索尼
1:41:42 running the literal gauntlet to be jumped into a gang. ‎受夹道鞭笞的刑罚来加入帮派
1:41:50 You wanna deal with the Lords, you deal with us later, you understand? ‎你想跟领主帮打交道 ‎那你待会再跟我们打交道 明白吗?
1:41:54 [Mitchell] Clanton's charged, fully felt acting proves his understanding ‎克兰顿充满情绪 ‎充满感情的表演证明了他对
1:41:58 of Sonny's psychic scar tissue from a lifetime of violence. ‎索尼因为一生的暴力所引起的 ‎心理伤疤的理解
1:42:03 [Jackson] He just so opposite of who that dude was. He was not that guy. ‎他和那家伙的身份完全相反 ‎他不是那个人
1:42:07 He was acting. ‎他在演戏
1:42:09 You know. You coulda-- ‎你知道的 你本可以…
1:42:11 They they coulda found that out the same way I did. ‎他们本来也能像我一样发现的
1:42:14 Just by saying, "Come in this room and talk to us." ‎就说:“进来跟我们聊聊”
1:42:16 [Mitchell] If the decade 1968 through 1978 was about talent seizing opportunity, ‎如果说从1968到1978年的十年 ‎是演员抓住机遇
1:42:22 there's no better tribute to that motivation ‎没有比西德尼‎·‎波蒂埃的改造
1:42:24 than the reinvention of Sidney Poitier, ‎更好的动机了
1:42:26 who turned himself into a blue-collar straight man ‎他在《周六奇奥夜》里
1:42:28 in Uptown Saturday Night. ‎把自己变成了蓝领直男
1:42:30 You all right, baby? ‎你没事吧 宝贝?
1:42:32 I'm fine. ‎我没事
1:42:33 I love Sidney's comedy. ‎我喜欢西德尼的喜剧
1:42:36 Gentlemen. ‎先生们
1:42:37 [Fishburne] He is incredibly funny in it. ‎他在这方面非常有趣
1:42:40 And I love that it is a depiction of Black life ‎我喜欢它以正常的方式
1:42:46 in a normalized way. ‎描述黑人的生活
1:42:47 [Mitchell] Such was Poitier's physical command ‎那就是波蒂埃演员的能力
1:42:50 that he made himself visibly uncomfortable in a suit, ‎他让他自己穿西装看起来明显不舒服
1:42:53 the kind of thing that he usually wore like a second skin. ‎他通常穿西装 ‎像自己的第二层皮肤一样舒服
1:42:56 Audiences were giddy ‎观众们很激动 ‎他能讽刺他自己的着装方式
1:42:58 that he could satirize his own stylish earnestness, ‎他能讽刺他自己的着装方式
1:43:00 and he was a movie star once more in one of his biggest hits ever. ‎他在遭受有史以来最大的打击里 ‎又一次做了电影明星
1:43:04 And if Poitier could make himself bigger than life in the movies ‎如果波蒂埃能让他自己 ‎在电影里以一种全新的方式
1:43:08 in an entirely new way, then anything was possible. ‎引起特殊的注意 ‎那么一切都有可能了
1:43:25 Perhaps the greatest legacy of this era, ‎也许这个时代最伟大的遗产
1:43:28 during a time of strain and reassessment in the mainstream, ‎在主流重压和重新评估的那段时间
1:43:31 and such moments being reflected in most movies, ‎这样的瞬间 ‎在大部分的电影里反映了出来
1:43:33 is the joy that Black performers took in being before the camera. ‎是黑人表演者在镜头前表演的愉悦
1:43:42 There are probably more entrances given protagonists of Black films ‎黑人电影的主角出场可能比
1:43:46 than in all the movies of the 1930s put together. ‎20世纪30年代的所有电影都多
1:43:49 In some cases, the actors got multiple entrances, ‎在某些情况下 演员们有多次出场
1:43:52 and the soundtracks ushered them onto the screen. ‎配乐引导他们进入荧屏
1:43:55 The engagement these movies demanded from audiences ‎这些电影对观众注意力的要求
1:43:57 often played like the moments in musicals before a dance number erupts, ‎经常像是在音乐剧中 ‎突然跳舞之前的时刻一样
1:44:01 and the air is charged. ‎空气里充满了兴奋
1:44:19 It was this decade's movies that gave notice, ‎正是这十年的电影给
1:44:22 careers, and new leases on life to Black talent. ‎黑人演员带来了关注、事业、 ‎和人生新的机会
1:44:26 The industry would squander that potential for them. ‎这个行业会浪费他们这种潜力
1:44:29 For example, Cleavon Little ‎比如说克利文‎·‎利特尔…
1:44:30 Hey, where the white women at? ‎嘿 那个白人女性在哪里?
1:44:34 [Mitchell] whose quicksilver straight-man verve was as responsible ‎…他的瞬息万变 直男的能量
1:44:37 for the success of Blazing Saddles as anything else. ‎给《闪亮的马鞍》带来了 ‎像其他东西一样的成功
1:44:41 What did you expect? ‎你以为是什么?
1:44:43 "Welcome, sonny"? ‎“欢迎 儿子”?
1:44:45 [Mitchell] Cleavon Little never found another leading role ‎克利文‎·‎利特尔没有找另一个主演
1:44:48 to showcase his abilities, ‎来展现他的能力
1:44:50 unlike his costar, Gene Wilder. ‎他的联合主演 ‎吉恩·怀尔德就不一样了
1:44:55 That's the way of the world ‎(《世界的法则》1975年 ‎导演:西格·肖尔)
1:44:59 [Mitchell] That surge of musical endorphins informed a film ‎那股音乐内啡肽的激增给电影带来
1:45:02 with probably the best-selling Black soundtrack of the period, ‎那段时间卖得最好的黑人原声
1:45:05 directed by the producer of Super Fly. ‎导演是《超飞》的制作人
1:45:08 It's a musical so undercooked the band doesn't bother to speak. ‎这是一部懒散到乐队都 ‎懒得说话的音乐剧
1:45:12 Some might say the film's music was so transporting they don't need to. ‎有些人可能会说电影的音乐 ‎煽情得太过分了
1:45:16 And the spiritual wallop of songs such as "That's the Way of the World" ‎那种振奋人心的歌 ‎像“那是世界之道”这样
1:45:20 proved that point. ‎证明了他们不需要说话
1:45:24 [Mitchell] The first major studio version of a slave narrative, ‎第一个主要的工作室版本的奴隶叙事
1:45:27 the adaptation of Mandingo, ‎《曼丁哥》的改编电影
1:45:29 slaps onto the screen with its gaudy inhumanity intact. ‎在所有花哨不谦虚中 ‎有攻击性地上映了
1:45:33 This decades-old literary sensation ‎这种几十年的文学成功
1:45:35 was adapted by Oscar-nominee Norman Wexler, ‎改编自奥斯卡提名的 ‎诺尔曼·韦克斯勒
1:45:38 with a cast that includes James Mason and his florid accent ‎演员包括詹姆斯·梅森 ‎和他绚烂的口音…
1:45:42 Get down there. ‎躺下去
1:45:44 All right. ‎好了
1:45:47 [Mitchell] which seems less crazy after the trashy parade of racism. ‎…在种族主义的下流游行之后 ‎看起来就没那么疯狂了
1:45:50 The movie's obsession with Black sexuality ‎这部电影迷恋黑人的性取向
1:45:54 and ridiculing white fear of it ‎和嘲笑白人的恐惧
1:45:56 inspired the body-worshipping photography of Robert Mapplethorpe. ‎受到了罗伯特·马普索普的 ‎身体崇拜摄影的鼓舞
1:46:01 That's proof Black Jesus was the revenant's cousin too. ‎这证明了黑耶稣也和亡魂相关
1:46:04 [Mitchell] But Black film continues to explode through one genre after another ‎但是黑人电影从一个类型 ‎到另一个类型进发
1:46:08 with writer-director Ralph Bakshi's Coonskin, ‎拉尔夫·巴克西编剧的《浣熊皮》
1:46:10 a combination of live action and animation that stars Barry White, ‎结合了明星巴里·怀特的真人动画
1:46:14 actor-playwright Charles Gordone, and Philip Michael Thomas, ‎演员编剧查尔斯·戈登还有 ‎菲利普·迈克尔·托马斯
1:46:17 who would later star in Miami Vice and coin the acronym EGOT. ‎他后来主演了《迈阿密风云》 ‎创造了EGOT的缩写
1:46:21 Starting with its assaultive title, Bakshi's experiment packs in ‎从难听的名字开始 ‎巴克西的尝试加入了
1:46:25 much commentary on race and its cinematic treatment. ‎很多对种族的评论和影片的处理
1:46:28 From parodying Br'er Rabbit ‎从模仿布雷尔兔
1:46:30 to sending up Krazy Kat. ‎到取笑疯狂猫
1:46:31 Night after night, Malcolm remains cool. ‎夜复一夜 马尔科姆还是很凉快
1:46:36 [Mitchell] Conceptually, Coonskin stirred up so much turmoil ‎从概念上讲 ‎《浣熊皮》引起了许多骚动
1:46:39 that it scandalized as well as entertained, ‎它的目的就是
1:46:41 which was its point. ‎既震惊又娱乐
1:46:48 This load is getting too heavy to tote. ‎这货太重了 搬不动
1:46:50 [Mitchell] For good or ill, there's still nothing else like it. ‎不管是好是坏 它依然是特别的
1:46:53 Random and abrupt police intrusion in Black life ‎随意和粗鲁的警察闯入黑人生活
1:46:56 played on as part of Black film. ‎作为黑人电影的一部分继续
1:46:58 In Cornbread, Earl and Me, ‎在《玉米面包 厄尔和我》里
1:47:00 a young Black life ended by a cop's bullet is the center of the story, ‎以警察的子弹结束的年轻黑人的 ‎生活是故事的中心
1:47:04 back when such a thing still drew a gasp because it was so rarely dramatized ‎当时这种东西因为很少被戏剧化 ‎而让人惊讶
1:47:08 but got knowing nods from Black audiences. ‎但却得到了黑人观众的认可
1:47:16 [Mitchell] The spill of orange soda in the climactic scene ‎高潮现场的橙汁汽水溢了出来
1:47:18 crudely but imaginatively worked as a stand-in for bloodshed ‎粗糙但有想象力地充当了 ‎流血事件的替代
1:47:22 and still sends a chill through me. ‎依然让我起了一身鸡皮疙瘩
1:47:25 Cornbread! ‎玉米面包!
1:47:26 That movie, for me, is the original Boyz n the Hood. ‎那部电影对我来说 ‎是原始的《街区男孩》
1:47:31 Cornbread, Earl and Me is a tragic story. ‎《玉米面包 厄尔和我》是个悲剧
1:47:33 And Boyz n the Hood is also a tragic story. ‎《街区男孩》也是个悲剧故事
1:47:37 And those things are almost 20-something years apart. ‎那些东西相差将近20年
1:47:41 [all] We do not enter public transportation illegally. ‎我们不会非法进入公共交通
1:47:45 [Mitchell] From the high-flying Shaft and athletes-turned-adventurers, ‎从有野心的《黑街神探》里 ‎运动员成为了冒险家
1:47:48 action downshifted into something drawn like real life. ‎电影逐渐变得更少地专注动作 ‎而更现实
1:47:52 Cooley High, a Black inner-city version of American Graffiti, ‎《龙虎少年队》是黑人市中心版本的 ‎《美国风情画》
1:47:55 with the ups and downs of a coming-of-age story emerged. ‎有成长故事的跌宕起伏
1:47:59 And the story was given a resident lift from Motown songs, ‎故事是从摩城音乐开始的
1:48:02 which would have been the soundtrack of the characters' lives in 1964 ‎本来是电影开始的年代 1964年的
1:48:06 when Cooley High was set. ‎人物的配乐
1:48:07 The heady perfume of nostalgia washed over Black audiences, ‎充满怀旧气息 淹没了那些欢迎它的
1:48:11 -who welcomed it. -[Motown music playing] ‎黑人观众
1:48:13 That's Motown music. ‎那就是摩城音乐
1:48:15 And it's the backdrop of Black people's lives ‎这是电影中 黑人的
1:48:22 on film. ‎生活背景
1:48:24 That's nice. That's that's a nice change. ‎这不错 这个改变不错
1:48:32 [Turman] One of the first scenes I remember shooting ‎我先想起拍摄的一件事
1:48:34 is the scene running for the bus. ‎就是奔向公共汽车的场景
1:48:36 That was exactly how I grew up in Manhattan. ‎这正是我在曼哈顿长大的方式
1:48:39 That's what we did. That's what me and my crew did. ‎这就是我们做的 ‎这是我和我的朋友所做的
1:48:42 We ran and jumped on the back of the bus going down 7th Avenue. ‎我们跑到走第七大道的巴士后面 ‎再跳上去
1:48:45 I'll never forget it. But here was the thing ‎我永远不会忘记 ‎但事情是这样的 ‎当我们沿着第七大道走时
1:48:48 [laughing] when we did that going down 7th Avenue, ‎但事情是这样的 ‎当我们沿着第七大道走时
1:48:53 we jumped on the bus, and 7th Avenue was cobblestone, ‎我们跳上了车 ‎然后第七大道是鹅卵石
1:48:56 so you held on for dear life! ‎所以你要抓住!
1:49:00 Can I have a hot dog, please? ‎可以给我来个热狗吗?
1:49:02 [Mitchell] Turman plays the big comedic moments and the reality ‎托曼演了重要的喜剧时刻和现实
1:49:05 so that he becomes an important ingredient in Cooley High ‎所以他成为了《龙虎少年队》里的 ‎重要人物
1:49:08 rather than overwhelm it with his spice. ‎而不是靠故意搞笑
1:49:10 -Could I have ketchup on it? -We don't have any ketchup. ‎-可以给我番茄酱吗? ‎-我们没有番茄酱
1:49:13 -You ain't got no ketchup? -That's right. ‎-你没有番茄酱吗? ‎-没错
1:49:15 [man] Got some relish? Can I have relish on it, please? ‎有什么小菜吗? ‎可以给我点小菜吗?
1:49:17 [woman] I don't have relish. ‎我没有小菜
1:49:18 -[man] You got no relish? -[woman] No relish. ‎-你没有小菜吗? ‎-没有小菜
1:49:20 -[man] What you got? -[woman] Mustard. ‎-那你有什么? ‎-我们有芥末
1:49:21 -Mustard?! -[woman] That's it. ‎-芥末? ‎-就是这样
1:49:23 You mean, a big establishment like this, and all you got is mustard? ‎像这样的大饭店就只有芥末?
1:49:26 -That's right. -I don't like mustard. Do you? ‎-没错 ‎-我不喜欢芥末 你喜欢吗?
1:49:28 Yeah, I like mustard. ‎对 我喜欢芥末
1:49:30 Oh yeah? Well then, here. You eat the hot dog. ‎好吧 那在这里 你吃热狗
1:49:33 And along that road, ‎就在这条路上
1:49:35 you hit certain spots that make you go, "Whoa! Yeah, this is-- Yeah!" ‎你碰到了一些让你想去的地方 ‎“对 这是…对!”
1:49:41 All of a sudden, a call comes from nowhere. ‎突然之间 来了个电话
1:49:43 Doesn't even come from my agent. It comes from some strange other place. ‎都不是我的经纪人打来的 ‎是从别的奇怪的地方打来的
1:49:47 "Glynn, Ingmar Bergman is looking for you." ‎“葛林 英格玛·伯格曼在找你”
1:49:50 I said, "I'm in no mood to play. I'm sitting here in the fucking dark." ‎我说:“我没心情玩 ‎我他妈待在黑暗中呢”
1:49:55 "My kids are hungry. I'm-- We're eating potatoes." ‎“我的孩子们饿了 我们在吃土豆”
1:49:59 And I hung up the phone. ‎然后我挂了电话
1:50:00 And the call came. He said, "No, for real, Glynn." ‎然后电话来了 ‎他说:“不 是真的 葛林”
1:50:03 He was looking for me. And he'd seen Cooley High ‎他在找我 他看过《龙虎少年队》
1:50:07 and, you know, said he knew right then that I was the one to be in his movie. ‎你知道 他说他当时知道 ‎我就是那个要出现在他电影里的人
1:50:13 So so you go from pockets of that kind of disaster to ‎所以你从那种灾难的状况里走出来
1:50:19 euphoria. ‎兴奋
1:50:21 And then, so it's a ride that-- ‎然后这是一次…
1:50:23 It's unbelievable ride. ‎难以置信的旅程
1:50:30 [laughs] You are outrageous, you know that? ‎(《红木》1975年 ‎导演:贝瑞·戈迪) ‎你太过分了 你知道吗?
1:50:33 [Mitchell] Old-school glamour, as portrayed again by Diana Ross and Billy Dee Williams, ‎再次由戴安娜·罗斯和 ‎比利·迪·威廉姆斯表现的复古魅力
1:50:37 still proved potent in the 1975 romantic melodrama Mahogany. ‎在1975年的浪漫情节《红木》里 ‎依然证明是有效的
1:50:42 You gotta give 'em some pizzazz. Show 'em your charm. Ow! ‎你得给它一点精力 展现你的魅力
1:50:45 I always feel like, sometimes Black men always feel like they have to ‎我总觉得 有时候黑人 ‎总是觉得他们必须…
1:50:49 Maybe there's a good reason for it. There are obvious reasons for it, I guess. ‎也许有一个好原因 我想原因很明显
1:50:53 But, uh, always this need to show their strength. ‎但总是需要表现出他们的力量
1:50:58 Vulnerability is a wonderful thing to use. ‎脆弱是个可以用的好东西
1:51:00 It's a wonderful tool when you're playing a character. ‎这是你演角色的好工具
1:51:08 I've missed you too. ‎我也想你
1:51:10 [Williams] But that's me. I'm that kind of person. ‎但那是我 我就是那种人
1:51:12 I mean, I'm not afraid to display ‎我是说 我不害怕展现
1:51:16 my, uh or convey my feelings about, ‎我的… 或者传达我的感受
1:51:21 uh, something if I if I feel strongly. ‎如果我感受很强烈的话
1:51:24 Play it, Sam. ‎弹吧 萨姆
1:51:25 We're on the rock 'n' roll choo choo Headed for Hollywood ‎(《到好莱坞的火车旅途》 ‎1975年 导演:查尔斯R·朗多)
1:51:28 [Mitchell] The pop-soul group Bloodstone, whose big hit was "Natural High," ‎流行灵魂乐队 血石的大成功是 ‎《自然嗨》
1:51:32 were said to have invested their own money to produce ‎据说他们投资了自己的钱 ‎来制作感人又奇怪的音乐剧
1:51:34 the touching and sweetly odd musical ‎来制作感人又奇怪的音乐剧
1:51:36 Train Ride to Hollywood, a pastiche of 1940s movie clichés, ‎《到好莱坞的火车旅途》是一个 ‎20世纪40年代电影腔调的混成曲
1:51:40 and inserted themselves into the mix. ‎然后把他们自己插进混音里
1:51:46 [Mitchell] Among Richard Pryor's gifts was pinpoint cultural criticism, ‎理查德·普赖尔的天赋之一 ‎是准确定位文化评判
1:51:49 as he proved with his 1976 comedy album Bicentennial Nigger ‎他在1976年的喜剧专辑 ‎《二百年的黑鬼》还有
1:51:54 and his take on Logan's Run, ‎他在《逃离地下天堂》的 ‎观点里就证明了
1:51:56 a 1976 Lego-colored, pre-Star Wars sci-fi fantasy. ‎一部1976年的乐高色的 ‎前《星球大战》科幻片
1:52:01 [Pryor] I went to see Logan's Run, right? ‎我去看《逃离地下天堂》了 对
1:52:03 They had a movie of the future called Logan's Run. ‎他们有一部未来电影 ‎《逃离地下天堂》
1:52:06 Ain't no niggas in it. ‎里面没有黑兄弟
1:52:07 I said, "Well, white folks ain't planning for us to be here." ‎我说:“白人不打算让我们来这里”
1:52:14 [Pryor] That's why we gotta make movies. Then we'll be in the picture. ‎所以我们才要拍电影 ‎那我们就在照片里了
1:52:19 People don't ever want to-- And and please forgive me. ‎大家都不想要…请原谅我
1:52:23 People never want to offend white folks. ‎人们永远不想冒犯白人
1:52:27 They want to be able to keep white folks on their side ‎他们想把白人留在自己这边
1:52:30 so that they will be allowed to make these movies. ‎这样他们才能被允许拍这些电影
1:52:37 [Mitchell] By 1976, ‎到1976年
1:52:39 after Black films redeemed the ideal of heroic protagonists, ‎在黑人电影救赎了 ‎英雄主角的理想之后
1:52:42 mainstream movies once again saw their worth. ‎主流电影再次看到了他们的价值
1:52:45 Smile, you son of a ‎笑一笑 你这个混…
1:52:46 [Mitchell] The Sting and Jaws, which returned the thrill of victory ‎《骗中骗》和《大白鲨》 ‎胜利的喜悦回来了
1:52:50 to white male movie stars, were massive hits. ‎对白人男性电影明星来说 ‎是巨大的打击
1:52:53 In fact, both Jaws and The Sting ‎其实《大白鲨》和《骗中骗》
1:52:55 were made by the same producers that did Willie Dynamite. ‎都是同一个制作人 ‎那就是威利·迪纳米特
1:52:58 The Sting's plot could have been lifted from the novel Trick Baby, also a film. ‎《骗中骗》的情节本来可以从小说 ‎《冰山瘦身》里抄的 也是一个电影
1:53:03 And, by 1976's end, Rocky Balboa, ‎到了1976年底 ‎洛奇·巴尔博厄 一个本可以走出 ‎黑人动作电影的英雄
1:53:07 a hero who could have stepped out of a Black action movie, ‎洛奇·巴尔博厄 一个本可以走出 ‎黑人动作电影的英雄
1:53:09 was pitted against a clumsy and mocking Muhammad Ali archetype. ‎与笨拙而讽刺的 ‎穆罕默德·阿里原型形成对比
1:53:12 And though Rocky didn't win the fight, ‎虽然洛奇没有赢得拳击比赛
1:53:14 he got the Best Picture Oscar and the box office success to go with it. ‎他获得了奥斯卡最佳影片奖 ‎获得了票房的成功
1:53:18 He looks like a big flag. ‎他看起来像个大旗
1:53:20 [Mitchell] Rocky featured a Black heavyweight champ ‎洛奇演了一位黑人重量级冠军
1:53:23 who was a parody of the all-beef persona Ali brought to the ring. ‎他是阿里带到拳击场上的 ‎所有男性人物的嘲仿
1:53:28 But Ali used humor as a mind game on his opponents, ‎但阿里把幽默当成 ‎给那些想盯着他
1:53:31 who all tried to glare him into submission. He wasn't a clown. ‎给他施压的对手的心理游戏 ‎他不是小丑
1:53:34 In fact, Ali knew he could pretend to take things lightly ‎事实上 阿里知道他可以假装轻松
1:53:38 because his skills would prove his indomitability, ‎因为他的能力证明了他的顽强
1:53:41 including a willingness to take a punch, ‎包括愿意出拳
1:53:43 which may have accelerated his slide into Parkinson's. ‎这可能加速了他患上帕金森
1:53:47 Stallone's savvy had him lift cleverly from Black culture ‎史泰龙的机智让他聪明地 ‎摆脱了黑人文化
1:53:51 such ideas as pounding beef in the meat locker ‎像是在肉柜里敲碎牛肉
1:53:53 and running up the museum steps, which Joe Frazier did first, ‎跑上博物馆的台阶一样的想法 ‎乔·弗雷泽先做了
1:53:57 as the book Ghosts of Manila reminds us. ‎就像《马尼拉的鬼魂》这本书 ‎提醒我们的一样
1:54:01 As Rocky's foe, Apollo Creed, ‎作为洛奇的对手 阿波罗·克雷德
1:54:04 Carl Weathers bent himself into a pretzel to bring himself down to Stallone's size. ‎卡尔·韦瑟斯停止让他自己 ‎变成史泰龙的体型
1:54:09 I needed a chiropractor after watching Weathers fold himself ‎看到卡尔·韦瑟斯弯腰 ‎和洛奇在同一水平之后
1:54:12 to the level of Rocky's fists. ‎我需要去看脊椎按摩师了
1:54:16 By 1976, the notion of using the power of musicals to capture audience attention ‎到了1976年 利用音乐剧的力量 ‎吸引观众的注意力
1:54:21 was no longer lost on mainstream filmmakers. ‎不再被主流电影制作人忽略了
1:54:26 With Car Wash, composer Norman Whitfield was primed to outdo Shaft and Super Fly, ‎《洗车场》作曲家诺曼·惠特菲尔德 ‎准备超越《黑街神探》和《超飞》
1:54:31 with a theme of hard-hitting funk bounce sutured to a social context. ‎主题是强烈的放克弹跳 ‎与社会背景相结合
1:54:36 And it worked. ‎结果成功了
1:54:44 This song, "Something He Can Feel," ‎这首歌 《他能感受到的东西》
1:54:47 was Curtis Mayfield's take on Motown girl-group simmer. ‎是柯蒂斯‎·‎梅菲尔德在 ‎摩城女团的性感魅力上的想法
1:54:50 Mayfield wrote it for the proto-Dreamgirls, ‎梅菲尔德为了《梦女孩》的 ‎原型写了这首歌
1:54:53 Black showbiz melodrama, Sparkle ‎黑人娱乐圈情节剧 《奔向爱》…
1:54:55 I'm too young to let you know Just where I'm coming from ‎…我太年轻了 不能告诉你我来自哪里
1:55:01 which should have ignited the career of star Lonette McKee ‎…这本该开启明星 ‎罗塔·麦基的职业生涯
1:55:05 and been more than a footnote for Irene Cara and Philip Michael Thomas. ‎让艾琳·卡拉和 ‎菲利普·迈克尔·托马斯更出名
1:55:10 Sparkle was screenwriter Joel Schumacher's follow-up to Car Wash, ‎《奔向爱》是编剧乔尔‎·‎舒马赫的 ‎《洗车场》的后续作品
1:55:14 and he wrote it to hypnotize audiences and direct himself. ‎他写这个是为了让观众着迷 ‎也指引自己
1:55:18 It ended up dazzling the handful who saw it ‎结果让看到它的少数人印象深刻
1:55:20 but not with Schumacher behind the camera. ‎但在镜头后面没有舒马赫
1:55:24 Like the potential crowd-pleaser ‎比如很可能受观众喜爱的
1:55:26 The Bingo Long Traveling All-Stars & Motor Kings, ‎《宾果长途旅行全明星&汽车国王》
1:55:29 this story of the Negro Leagues ‎这个黑人联盟的故事
1:55:31 also functioned as a metaphor for the amount of effort ‎也可以用做比喻为了给观众带来娱乐
1:55:34 Blacks had to put into entertaining audiences. ‎黑人必须付出多少努力
1:55:36 The players had to give a show on the way to the stadium ‎球员们在去球场的路上一定要表演
1:55:39 and still played nine innings of baseball. ‎然后还要玩九局棒球
1:55:41 I loved it. I really wanted to do Bingo ‎我很喜欢 我真的很想演宾果
1:55:44 'cause Bingo was a really fun kind of character. ‎因为宾果是个很有趣的角色
1:55:47 I mean, the man is guaranteeing us $200. ‎我是说 那个男人保证给我们200美元
1:55:49 If you slice that 11 ways, that comes out to about, uh ‎如果你用这11种方式 那就能产生…
1:55:55 A lot of money! ‎很多钱!
1:55:57 [Mitchell] Bingo is all the things Williams is. ‎宾果就是威廉姆斯的一切
1:56:00 He's physical. He has an appetite for life. ‎他很强壮 他对生活有热情
1:56:02 Full of crap, you know. ‎全是放屁 你知道
1:56:09 [man 1] Who you got, man? ‎你找谁 兄弟?
1:56:12 [man 2] A real foxy lady. ‎一个美女
1:56:13 [Mitchell] The 1977 film Brothers was a peculiar and rare attempt ‎1977年的电影《兄弟》是一个 ‎在黑人政治情节剧上的
1:56:18 at Black political melodrama. ‎奇特而罕见的尝试
1:56:20 With its haunted Taj Mahal score, ‎不绝于耳的泰姬陵配乐
1:56:23 it was a romance of ideals with Bernie Casey and Vonetta McGee ‎这结合了伯尼·凯西和 ‎沃内塔‎·‎麦吉的天马行空
1:56:27 as characters based on George Jackson and Angela Davis. ‎是基于乔治·杰克逊和 ‎安吉拉·戴维斯的角色
1:56:30 But pretty much all this movie did was gape at their bone structure. ‎但这部电影几乎都是专注于架构的
1:56:34 Before Marvel and DC dropped faithful movie adaptations ‎在漫威和DC发行忠实的改编
1:56:38 of their universes on regular schedules, the well-meaning street superhero story ‎他们固有时间的宇宙之前 ‎善意的街头英雄故事
1:56:43 Abar: the First Black Superman hit screens. ‎《阿巴尔:第一位黑人超人》上映了
1:56:47 This film celebrates the Watts Tower on-screen, ‎这部电影在屏幕上庆祝瓦茨塔
1:56:50 giving it a sense of place in the Black world. ‎给它在黑人世界的地位感
1:56:52 -Commence firing! -[whooshing] ‎开火!
1:56:59 [Mitchell] And, in an early version of sampling, ‎在早期样本的版本中
1:57:01 it used Captain America's origin story as a serving suggestion. ‎它利用了美国队长的起源故事 ‎作为建议
1:57:05 As a Black race, let's get ourselves together, ‎作为一个黑人种族 我们各方面
1:57:08 in every respect. ‎都要团结起来
1:57:09 For that, I'll sacrifice anything short of murder. ‎为了这个 ‎除了谋杀之外我会牺牲任何东西
1:57:12 Well, uh, suppose I could, uh, make you indestructible. ‎好吧 我想我会让你坚不可摧
1:57:18 [Mitchell] The cycle of Black film was slowly winding down, ‎黑人电影的循环正在慢慢结束
1:57:21 as the sure-bet returns on Black films of a certain type ‎就像某种类型的黑人电影的回报一样
1:57:24 were diminishing at a rate that seemed exponential. ‎正在以指数级的速度递减
1:57:28 So, there was no place for a peculiar high point of the 1970s, ‎所以 20世纪70年代没有特有的高潮
1:57:32 a biopic about a real-life boxer, ‎是一部关于真实拳击手的传记片
1:57:35 with a theme song that initially provoked unintentional laughs. ‎主题曲最初是引起了无意的笑
1:57:38 I believe the children are our future ‎我相信孩子们是我们的未来
1:57:42 Teach them well And let them lead the way ‎好好教他们让他们带路
1:57:46 Show them all the beauty They possess inside ‎给他们展示本身内在拥有的所有美丽
1:57:51 [Mitchell] Houston's chart-topping claiming of this song ‎休斯顿的排行榜首是这首歌
1:57:53 lifted it from ode to self-absorption to self-empowerment hymn. ‎把它从歌颂自我专注 ‎转到歌颂自我赋权
1:57:57 This embrace of "The Greatest Love of All" was a generational shift. ‎这份“至高无上的爱”的拥抱 ‎就是一代一代的转变
1:58:02 Following the lead of actors from 1968 adopting Ali's bravado, ‎1968年的演员们采用了阿里的冒险
1:58:06 it signaled the change in mainstream perception of Ali, ‎这标志着人们对阿里的 ‎主流看法发生了变化
1:58:09 from showboat to "The Greatest Love of All." ‎从卖弄到“至高无上的爱”
1:58:14 Prior to this 1968 through '78 era, ‎在1968到78年代之前
1:58:17 movie soundtracks didn't matter to the studios ‎电影配乐对电影公司并不重要
1:58:19 because they didn't consistently sell much, ‎因为他们一直卖的不多
1:58:22 and usually came out months after the movies were released. ‎通常在电影上映后几个月发出来
1:58:25 Black '70s film ignored that example. ‎(詹姆斯·布朗《黑凯撒》)
1:58:28 The scores weren't just textures but detonations of thought and sound. ‎配乐不只是背景音 ‎而是思想和声音的爆炸
1:58:33 Their boldness transformed movie music and mainstream music forever. ‎他们的勇敢让电影音乐 ‎和流行音乐永远改变了
1:58:38 Suddenly, movie music was a commercial consideration. ‎突然间 电影音乐成了商业考量
1:58:41 Black film soundtracks multiplied, ‎黑人电影配乐成倍增加
1:58:44 composed and performed by R&B singers, jazz artists, ‎由节奏布鲁斯歌手、爵士乐手
1:58:48 classically trained musicians, who made a fusion of classical and modern. ‎受过经典训练的融合了古典和现代的 ‎音乐家作曲和演奏
1:58:52 Master session drummer Bernard Purdie ‎大师级鼓手伯纳多·坡迪
1:58:55 was out to show the true definition of funk ‎在黑人X级电影《利亚莱》里
1:58:58 in the Black X-rated film Lialeh, ‎来展示放克的真正定义
1:59:00 where he's on camera playing the score he composed for the movie. ‎他在镜头里演奏为那部电影写的乐谱
1:59:06 Eventually, the movies would have to take notice ‎最终 那些电影必须注意
1:59:09 because too many hits were coming out of these Black movie scores. ‎因为太多打击乐是来自于 ‎这些黑人电影配乐了
1:59:18 Robert Stigwood was producing a movie ‎罗伯特·斯蒂格伍德在做一部
1:59:20 about the white middle-class being consumed by disco. ‎关于白人中产阶级迷恋迪斯科的 ‎故事的电影
1:59:23 You know, Black music. ‎你知道 黑人音乐
1:59:25 Because Stigwood also owned a record label, ‎因为斯蒂格伍德也有唱片公司
1:59:28 he made sure to use a film soundtrack featuring his biggest artists, ‎他确信用电影配乐来 ‎主打他最大的歌手
1:59:31 the Bee Gees, to sell the movie ‎比吉斯来卖电影
1:59:33 and help his potential audience get over its fear of a Black planet. ‎帮助他的潜在观众 ‎摆脱对黑色星球的恐惧
1:59:38 Soon, soundtracks would come to dominate the pop charts ‎很快 配乐会主宰流行乐排行榜
1:59:41 and be expected to because of the Black film example. ‎而且会因为黑人电影的例子被期待
1:59:44 It's one of the many lasting and unheralded achievements ‎这是在黑色电影这个时代的
1:59:48 of Black film of this era. ‎许多持久而不为人知的成就之一
1:59:53 In 1977, the most attractive points of Black film, ‎在1977年 黑人电影最吸引人的点
1:59:56 the entrance, the confidence, the propulsive theme to announce the star, ‎切入点、自信、有能量的主旋律 ‎告诉明星
2:00:01 like this, finally received its homage in a mainstream movie. ‎就像这样 ‎最终会收到主流电影的敬意
2:00:05 Music loud and women warm I've been kicked around Since I was born ‎(《周末夜狂热》1977年 ‎导演:约翰·巴达姆)
2:00:10 [muffled] And now it's all right It's okay ‎(《黑街神探》1971年 ‎导演:戈登·帕克斯)
2:00:12 [Mitchell] Which is to say, every generation gets its own Elvis or Eminem. ‎也就是说 每一代都有自己的 ‎猫王或艾米纳姆
2:00:19 John Travolta was another note in the decades-long symphony of swagger, ‎约翰·特拉沃尔塔是长达数十年的 ‎狂妄交响乐中的另一个音符
2:00:24 an off-white take on Black cool, ‎不是纯白人
2:00:27 the next best thing. ‎仅次于最好的
2:00:29 Travolta, as Tony Manero, ‎特拉沃尔饰演托尼·马利龙
2:00:32 may not have been the first to use Black beats of stylization, ‎可能不会是第一个用黑人风格的
2:00:35 but he embraced it with a bone-deep flair for expropriation. ‎但他用惊人的能力采用了黑人的风格
2:00:38 His intensity and intent ‎他的热情和专注
2:00:41 became a truly realized cultural phenomenon, ‎成为了真正意义上的文化现象
2:00:44 the biggest ever. ‎有史以来最强烈的
2:00:47 By 1978, Richard Pryor had appeared in 20 movies. ‎到了1978年 理查德·普赖尔 ‎出现在了20部电影里
2:00:51 With the exception of a handful of turns, ‎除了几个角色之外
2:00:54 his live standup, and Wattstax, none consistently made use of his talent. ‎他的现场状况 《沃特斯塔克》 ‎不能一直利用他的天分
2:00:58 Wanna buy a radio? ‎想买收音机吗?
2:00:59 My locker's been busted for six months now, man, ‎我的储物柜现在坏六个月了 兄弟
2:01:02 and the company ain't did shit to fix it. ‎公司也没能解决问题
2:01:04 Now I have to stick my finger in some tiny-ass hole. ‎现在我得把手指伸进一个小屁眼里
2:01:07 I cut my finger, man, two weeks ago, and it ain't healed yet. ‎我两周前割伤了手指 伤口还没愈合
2:01:10 [Mitchell] In '78, he costarred in what would be a most demanding role. ‎在78年 他与别人一起主演了一个 ‎要求很高的角色
2:01:15 He played a volatile and miserable autoworker in Blue Collar, ‎他在《蓝领阶级》里演了一个 ‎不稳定而悲惨的汽修工
2:01:19 which would also remain his own favorite acting work. ‎这也一直是他自己最喜欢的表演工作
2:01:23 You a redneck, peckerwood motherfucker, you know that? ‎你真是个乡巴佬 知道吗?
2:01:26 That's it, you're through. I've had your bullshit. ‎就是这样 你太傲慢了 我炒掉你了
2:01:29 I'mma kill a motherfucker! You understand that? ‎我要杀了那个混蛋!你明白吗?
2:01:31 [Mitchell] It was a film whose atmosphere was so combative, ‎那部电影的气氛很好斗
2:01:34 you could make a great movie about the making of Blue Collar. ‎你能做一个关于改编 ‎《蓝领阶级》的很好的电影
2:01:37 It would be the following year ‎那是第二年
2:01:39 that Pryor would release himself from fur-lined handcuffs ‎普赖尔会从皮毛手铐里解脱
2:01:42 in his most complex and remarkable role, ‎在他最复杂 最出色的角色中
2:01:45 himself. ‎就是他自己
2:01:46 I don't wanna never see no more police in my life. ‎我这辈子再也不想看到警察了
2:01:51 At my house. [chuckles] ‎在我家里
2:01:54 [Mitchell] To witness Pryor's startling, jazz-drummer control ‎目睹普赖尔的惊心 ‎在电影《现场演唱会》里
2:01:57 in the film Live in Concert ‎掌控爵士鼓
2:01:59 is to see he was the Tony Williams of comedians. ‎就是看他是喜剧演员的 ‎托尼·威廉姆斯
2:02:03 It only highlighted how the studios made movies, ‎它只强调了电影制片厂 ‎是如何做电影的
2:02:06 such as The Wiz, that squandered his blistering truth. ‎就像《新绿野仙踪》一样 ‎浪费了他明显的天分和能力
2:02:10 Phony! ‎菲妮!
2:02:12 [Mitchell] At this point, it feels like only one thing can save Black film from oblivion. ‎现在感觉只有一件事能够 ‎拯救黑人电影不被遗忘
2:02:16 The Wiz is out! He's not here! ‎维兹出去了!他不在这里!
2:02:19 I'm on my way to find The Wiz. ‎我去找维兹了
2:02:22 He's gonna get me back home. ‎他会带我回家的
2:02:24 Well, that's nice. ‎那很好
2:02:25 [Mitchell] Was it an all-stops-out musical from one of the most respected directors, ‎最受尊敬的导演之一 ‎拍摄了大规模音乐剧
2:02:29 with a film debut of a performer destined to become ‎电影首秀中的表演者注定会成为
2:02:32 the biggest pop music phenomenon of the next decade ‎未来十年最大的流行音乐现象
2:02:35 and a budget that could possibly equal what was spent ‎预算也可能和支出相同
2:02:38 to make all the Black films produced in 1968? ‎来拍1968年的所有黑人电影吗?
2:02:41 A good thought in the abstract but probably not in real life. ‎一个很好的初步想法 ‎但可能不会实现
2:02:45 The director was someone whose best work ‎导演最好的作品是
2:02:47 was tense, gritty movies, such as Serpico and Dog Day Afternoon. ‎紧张坚韧的电影 ‎像《冲突》和《热天午后》一样
2:02:51 The star's about 20 years too old for the part, ‎这个明星比饰演的角色大20岁
2:02:54 and the expressionism ‎还有表现主义
2:02:56 and gospel-flavor intimacy of the stage show ‎以及舞台表演的传闻亲密关系
2:02:58 is replaced by hundreds of extras trying not to bump into each other ‎由数百个尽量不撞到对方的 ‎临时演员替代
2:03:01 in outfits that still seem to have shiny price tags hanging off them. ‎他们穿着似乎还挂着闪亮标签的衣服
2:03:06 The Wiz is said to have cost between 25 and 40 million dollars to make, ‎据说《新绿野仙踪》的成本 ‎在2500到4000万美元之间
2:03:11 as much as Super Fly grossed. ‎和《超飞》的毛收入一样
2:03:13 It lacked the infectious aplomb and winning brio ‎它缺乏成功黑人电影的
2:03:16 of the Black movies that did succeed. ‎有感染性的沉着和能量
2:03:18 It only made about a third of its costs back. ‎它只赚了成本的三分之一
2:03:21 Sure, it may have got bad reviews, ‎它可能有不好的评价
2:03:22 but so did most of the films that did extraordinary business. ‎但大部分做非凡生意的电影也会如此
2:03:25 The simple fact is The Wiz lost money. ‎简单的事实是《新绿野仙踪》赔钱了
2:03:28 So much that it gave the movie industry the reason it had been looking for ‎它给了电影业一直在寻找的
2:03:31 to withdraw from the Black movie business ‎退出黑人电影业的理由
2:03:34 and handed movie executives the chance to say things like, ‎让电影公司的高管们有机会说
2:03:37 "Black people don't wanna see themselves in movies anymore." ‎“黑人不想再在电影里看到自己了”
2:03:40 Or something I actually heard from one, ‎或者我从一个人那里听到的话:
2:03:42 "Black people don't see themselves in historical dramas anyway." ‎“黑人在历史剧里 ‎怎样都不能看到自己”
2:03:47 It was in 1978 ‎在1978年
2:03:49 that the white male movie star reaccepted the mantle of hero ‎白人男性电影明星重新 ‎接受了英雄的斗篷
2:03:52 after rejecting it to embody the tormented antihero for over a decade, ‎是为了体现受折磨的反英雄 ‎而拒绝了它十多年之后
2:03:57 the sure and steely-eyed hero archetype ‎坚定而坚韧的英雄原型…
2:04:01 [announcer] Burt Reynolds is Hooper. ‎伯特·雷诺兹饰演奥佩尔
2:04:03 And Hooper is a real hero. ‎奥佩尔是个真正的英雄
2:04:06 [Mitchell] and finally absorbed the lesson ‎…最终吸取了
2:04:08 that these Black films understood early on. ‎这些黑人电影早期的教训
2:04:10 The biggest myth that the movies promoted, ‎电影给出的最大的神话
2:04:13 going back to D.W. Griffith and even before, ‎回到D.W.·格里菲斯 ‎甚至更早的时候
2:04:16 is that we want to be saved. ‎是我们想保留的
2:04:19 But it's often a satisfying lie, ‎但它通常是个令人满意的谎言
2:04:21 a chili cheeseburger, poisonous but so good. ‎一个辣芝士汉堡 有毒但是很好吃
2:04:28 [Mitchell] Warren Beatty ascended from impotent bank robber to the heavens. ‎沃伦·比提从无能的银行劫匪 ‎升入天堂
2:04:32 Heaven Can Wait could be viewed as the closing of a circle, ‎《天堂可以等待》被看成是圆的结束
2:04:36 because a '70s remake of Here Comes Mr. Jordan ‎因为70年代《太虚道人》的翻拍
2:04:38 began its life in the hands of a Black performer ‎开启了黑人演员和弗朗西斯·科波拉
2:04:41 working with Francis Coppola. ‎合作的生涯
2:04:43 [Coppola] It was a really funny script because he's this white guy ‎剧本很有趣 因为他是一个
2:04:46 who dies and comes back as Bill Cosby, ‎以白人的身份去世 ‎但以比尔·科斯比回来的人
2:04:49 but everyone sees him as white. ‎但大家都把他当白人看待
2:04:52 He liked-- I don't know why it was never done. ‎他喜欢…我不知道为什么 ‎从来没做过这个
2:04:54 [Mitchell] Robert De Niro employed his movie-star concentration ‎罗伯特· 德·尼罗 ‎利用他的电影明星
2:04:58 to play an old-school avenger. ‎来演一个复古的复仇者
2:05:00 Clint Eastwood put down his .44 Magnum to hang with the apes. ‎克林特·伊斯特伍德放下了他的身份 ‎去和猩猩一起玩
2:05:04 And the rocket that was launched from the planet Krypton by DC Comics in 1938 ‎后来1938年由华盛顿漫画公司 ‎从克利普顿星发射的火箭
2:05:09 finally deposited its contents on the movie screen. ‎最终做成了电影
2:05:28 But by 1978, the crowning achievement of the decade came into focus, ‎但到了1978年 ‎十年来最后最好的电影引起了关注
2:05:32 a work of art that had been playing since the end of the previous year. ‎从前一年的年底开始 ‎就一直在播放的艺术
2:05:37 This film took the director much of the decade ‎这部电影花了导演十年的大部分时间
2:05:39 to complete and release, ‎来完成和上映
2:05:40 though, to be fair, it was a thesis project. ‎尽管公平来讲 这是一个毕业项目
2:05:43 It used music deftly to illustrate character and setting ‎它用音乐来说明人物和设定
2:05:46 and showed an alluring command of the medium ‎表现出突出的电影媒体能力
2:05:49 and would be imitated into the next century. ‎在下一个世纪里会依然被模仿
2:05:51 Within me cries ‎(《街头故事》1989年 ‎导演:查尔斯·兰尼)
2:05:57 I'm sure someone may answer my call ‎(《乔治·华盛顿》2000年 ‎导演:大卫·戈登·格林)
2:06:06 Ooh May not ‎(《家庭派对》1990年 ‎导演:雷金纳德·哈德林)
2:06:10 [Mitchell] Burnett borrowed Dinah Washington's "This Bitter Earth" ‎柏奈特借用了黛娜·华盛顿的 ‎“这苦难的地球”
2:06:13 for its delicate heartache. ‎使用它微妙的心痛
2:06:15 And Martin Scorsese paid tribute to the scene in both image and music. ‎马丁·史考斯在画面和音乐上 ‎都向现场致敬
2:06:24 These people I grew up with, I really admired them, you know, ‎这些跟我一起长大的人 ‎我很欣赏他们 你知道
2:06:28 the fathers who, you know ‎那些父亲 你知道…
2:06:30 Unlike Hollywood films, that they ‎不像好莱坞电影
2:06:32 Everyone's a prostitute or doing something or leaving the family, ‎每个人都是妓女或者在做什么 ‎或者离开了家
2:06:36 and a mother to take care, a single parent, ‎还有妈妈要照顾 单亲妈妈
2:06:38 these parents and fathers were working hard, you know, ‎这些父母和父亲都很努力工作 ‎你知道
2:06:42 and I tried to be like 'em. And I grew up in a community ‎我试着像他们一样 ‎在我长大的社区中
2:06:45 that I really respected the people and liked 'em because I saw who they were, ‎我很尊重他们 喜欢他们 ‎因为我看到了他们真正的样子
2:06:50 and those are the kinds of people I didn't see represented in stories. ‎那些是我没在故事里看过的人
2:06:54 'Cause they were working-class people. Watts was a really interesting place. ‎他们是工人阶级的人 ‎瓦茨是个很有趣的地方
2:07:00 When I first went to UCLA, ‎我刚去加利福尼亚大学 ‎洛杉矶分校的时候
2:07:02 they had this end-of-the-quarter screening called Royce Hall Screenings. ‎他们有这种叫罗伊斯音乐厅放映会的 ‎季末放映
2:07:06 And they showed all the best films that were shown at ‎他们当年在电影学院…
2:07:09 in the film department that year. ‎展示了所有最好的电影
2:07:11 And I was taking a class with The teacher was Basil Wright. ‎我上课的老师是… ‎巴兹尔·莱特 他是个纪录片导演
2:07:15 He was a documentary filmmaker who did Song of Ceylon, things like that. ‎巴兹尔·莱特 他是个纪录片导演 ‎拍了《锡兰之歌》什么的 ‎我很幸运能上他的课
2:07:19 I was so lucky to get in his class. ‎拍了《锡兰之歌》什么的 ‎我很幸运能上他的课
2:07:21 And I remember going to the screenings at Royce Hall, ‎我记得去了罗伊斯音乐厅的放映会
2:07:24 and I couldn't understand a word of what was going on. I I didn't identify-- ‎我不理解每一个字 我不知道…
2:07:28 I mean, it was a time when the flower children was a big thing. ‎那个时候嬉皮士孩子们是很大的事情
2:07:32 You know, nudity, you know, going up to going up to Topanga Canyon, ‎你知道 裸着去托潘加峡谷 你知道
2:07:36 you know, and the guys are getting weed and all this kind of stuff ‎你知道 裸着去托潘加峡谷 你知道 ‎伙计们开始抽大麻之类的
2:07:39 and just finding themselves, ‎找到自己
2:07:41 rediscovering themselves and their sexuality. ‎重新找到自己和性欲
2:07:44 And, I mean, those weren't the issues in my community. ‎而那些不是我社区的问题
2:07:57 [Mitchell] Killer of Sheep demonstrated the potential of the medium ‎《杀羊人》通过一位诗人 ‎在自己的邻里找到美
2:08:00 by a poet finding beauty in his own neighborhood. ‎来表现了媒体的潜力
2:08:03 And, of course, he was ignored by the mainstream press. ‎当然 他也被主流媒体忽视了
2:08:07 There was no takeaway from it, ‎即使电影制作人编了整个生涯
2:08:09 even as filmmakers made entire careers out of copying it. ‎而没有照抄 也没有被人记住的点
2:08:12 And Black film was left to wither and die. ‎黑人电影被搁置 枯萎死去
2:08:15 But it refused to. ‎但它拒绝死去
2:08:17 In every decade since 1978, there's been a rise and fall ‎1978年以来的每十年里都会有起伏
2:08:21 for gifted Black filmmakers who won't give up. ‎献给不放弃的黑人电影制作人
2:08:24 Is the lesson that those who cannot remember the past ‎那些不记得过去的人
2:08:27 are condemned to keep remaking Shaft? ‎都会为继续改编 ‎《黑街神探》而被责难?
2:08:29 There's much talk of the pride that came out of the period, but again, ‎有很多关于那个时代的骄傲的说法 ‎但再说一次
2:08:32 I think of something my grandmother said, "You don't want pride. It's a trap." ‎我想到我奶奶说: ‎“你不想要骄傲 这是个陷阱”
2:08:37 "That means you want someone to see your chest swelled up." ‎“这意味着你想让别人看到 ‎你的膨胀”
2:08:40 "It's a selfish thing." ‎“这是自私的行为”
2:08:42 "Instead, take pleasure in what you do. That belongs to you." ‎“取而代之的是 在你做的事里 ‎找到快乐 那是属于你的”
2:08:46 "It's something you want others to share in with you." ‎“这是你想让别人分享给你的东西”
2:08:49 It's what I got from those films. ‎这是我从那些电影里学到的
2:08:51 The pleasure those talents took in making the movies, ‎这些天才制作电影的乐趣
2:08:54 they passed on to me and to others, ‎他们传给了我和其他人
2:08:57 and it's a living thing. ‎这是鲜活的东西
2:09:25 For the dudes who ain't here, huh? ‎为了那些不在这里的人
2:09:28 In addition to being a repository of hope, they were empirical proof ‎除了是希望的容器 他们是经验证据
2:09:34 that we were here, that we exist, ‎我们在这里 我们存在
2:09:37 that we create culture, ‎我们创造了文化
2:09:39 that our community is a viable community, ‎我们的社区是一个可行的社区
2:09:41 is an important community, ‎是一个重要的社区
2:09:43 that we have voices, and that we will be heard. ‎我们有声音 我们会被听到
2:09:49 [Mitchell] A final note, one person symbolized all the ups and downs of the period. ‎最后一点 一个人象征着 ‎那段时间的所有起起伏伏
2:09:53 Going from number one at the box office to irrelevance ‎从票房第一名到与成为
2:09:56 to being one of the last left standing. ‎最后一位黑人演员无关
2:09:59 Sidney Poitier, ‎西德尼‎·‎波蒂埃
2:10:00 who shifted his trajectory but didn't slow a step. ‎他改变了自己的轨迹 ‎但没有放慢脚步
2:10:04 He trusted his compact with Black audiences would remain intact. ‎他相信自己和黑人观众的契约 ‎会依然完整
2:10:08 -[shot booms] -[yelps] ‎(《布克与牧师》1972年 ‎导演:西德尼·波蒂埃)
2:10:10 [Mitchell] From 1968 through '78, he directed and starred in five films ‎从1968年到78年 ‎他执导并主演了五部电影…
2:10:15 I put my faith in the good book. ‎我把信仰寄托在圣经里
2:10:17 all of which centered on characters pretending to be something they're not. ‎…所有这些都集中在 ‎假装成为别人的角色上
2:10:21 Damn, man, we trusted you! I mean, why us?! ‎该死 我们相信了你! ‎我是说 为什么是我们?!
2:10:25 Why not you, brother? ‎为什么不是你 兄弟?
2:10:26 [Mitchell] I once asked him about this ‎我曾经问过他这个
2:10:29 one of the handful of times I spoke to him, ‎我跟他聊过为数不多次中的一次
2:10:31 all ending with him turning me down for an interview. ‎都是以他拒绝我访谈结尾的
2:10:34 When I mentioned that his five directing efforts were all about imposture ‎当我提到他的五次导演工作 ‎都是关于欺诈…
2:10:38 Open your eyes. ‎睁开眼睛
2:10:39 he laughed and said, ‎…他笑着说
2:10:41 "Young man, I already have a therapist. I don't need another one." ‎“年轻人 我已经有个心理医生了 ‎我不需要另一个”
2:10:45 You are capable of great feats of strength and courage. ‎你有强大的力量和勇气
2:10:50 Strength and courage. ‎力量和勇气
2:10:53 You can beat any fighter in the world. You will win the championship. ‎你可以打败世界上任何一个斗士 ‎你会赢得冠军
2:11:01 -I will? -Yes! ‎-我会吗? ‎-是的!
2:11:05 [Mitchell] But being Black in America is often about remembering ‎但在美国做黑人经常意味着记住
2:11:08 that what you think you are isn't what other people see ‎你以为自己是什么样 ‎并不是别人看到的样子
2:11:12 and figuring out the distance between those two perceptions. ‎并弄清楚那两个认知的差别
2:11:16 I think it's something my grandmother would have agreed with. ‎我想这我奶奶会认同的